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A MANUAL OF GRAPHOLOGY 



A MANUAL OF 
GRAPHOLOGY 


BY 

ARTHUR STOREY 




NEW YORK 

MOFFAT, YARD & CO. 

1923 

.124 6 . • 























Printed in Great Britain. 


3a 2>S*H 


CONTENTS 


PREFACE . 

INTRODUCTION. 

1. THE PSYCHOLOGY OF HANDWRITING 

2 . THE PHYSIOLOGY OF HANDWRITING 

3. THE PHYSIOLOGICAL CONNECTION BETWEEN HAND 

AND BRAIN ...... 

4. HOW THE HEART’S ACTION AFFECTS THE HAND¬ 

WRITING ...... 

5. HOW THE NUMEROUS MUSCLES OF THE BODY ARE 

BROUGHT INTO PLAY IN THE ACT OF WRITING . 

6. FIOW THE NUTRITION OF TFIE BODY AFFECTS THE 

HANDWRITING ...... 

7. A FEW OBSERVATIONS IN REGARD TO PEN, INK, 

NOTEPAPER, PHYSIOGNOMY, AND STYLE 

8. A PRELIMINARY FORMAL EXAMINATION 

9. CAPITALS AND “ t ” BARS .... 

10 . THE RECOGNITION OF ACTIVITY IN HANDWRITING 

11. GRAPHOLOGY AS DETECTIVE WORK . 

12 . IMAGINATION IN HANDWRITING 

13. TENDENCIES ...... 

14. HEALTH ....... 


PAGE 

7 

9 

*5 

20 

24 

26 

30 

32 

38 

4i 

43 

46 

49 

5 6 


5 


A Manual of Graphology 

15. AUTOGRAPHS ...... 

16. HANDWRITING AS AN ART . 

17. DIAGRAMS ...... 

18. WHY WE WRITE FROM LEFT TO RIGHT, AND THE 

USE OF THE RIGHT HAND .... 

19. SCHEME FOR THE SYSTEMATIC OBSERVATION OF 

TRAITS IN HANDWRITING .... 


PAGE 

58 

76 

79 

83 

86 


6 


PREFACE 


The aim of this book is entirely practical : it is to enable 
you to read character from handwriting. 

The following pages are the result of an endeavour to 
give a sound psychological and physiological basis for 
our observations ; to get at the core of the science of 
character-reading from handwriting. 

Although devoting most of my time to the psychological 
side, I have realised that anatomy, physiology, and path¬ 
ology play a large part ; consequently, I have devoted 
sufficient attention to them to enable me to avoid pit- 
falls in character-reading, as certain slight defects in the 
working mechanism of the hand, especially those defects 
produced by rheumatism and heart disease, may account 
for the existence of certain signs which may be wrongly 
interpreted. I have also introduced a formal method of 
observation for the sake of accuracy. 

The meanings attached to the signs may be accepted 
as generally reliable ; the majority of them are the result 
of years of observation by the best graphologists. 

However, the meanings attributed to them are not 
absolute, but relative. Each person’s own observation 
and experience may lead him to accept, reject, modify, 
or give newer and fuller interpretations to a number of 
them,, 


7 








INTRODUCTION 


What do we mean when we hand a specimen of hand¬ 
writing to a graphologist and ask him to tell the character 
of the writer ? 

Do we not mean that we want to know certain character¬ 
istic habits of thought and action from which we infer the 
nature of the person, with the further knowledge some¬ 
times (especially if we have to interview the writer) of 
how he acts or would be likely to act under ordinary or 
even abnormal circumstances ?* It is a big order. But 
the graphologist sees in the handwriting an immovable 
and permanent record of the gestures which reveal the 
settled disposition of the writer to think and feel and act 
in certain ways, as well as many other things. 

Let us suppose that the writing is large, and through 
the examination of other signs he sees that it indicates 
one who is fond of generalising. The graphologist tells 
us that the writer is a man who cannot be bothered with 
details—when talking to him we must come to the point 
at once ; that he has a choleric disposition, and like all 
aggressive men he seeks strife and loves it. (Bludgeon¬ 
like strokes in the writing.) 

If, on the other hand, the writing is small, he may 
tell us that this man loves details ; that he notices little 

9 



A Manual of Graphology 

things ; that you must satisfy his mind on every little 
point; that he has a quiet disposition. (Calm hand¬ 
writing.) 

If we wish to study character from handwriting there 
are certain things which we should remember, such as :— 

(1) The effect of mental conditions on bodily con¬ 
ditions, and the effect of bodily conditions on mental 
conditions. Some people are controlled by their minds, 
as indicated by the smoothness, evenness, and refinement 
of their pen strokes ; others are controlled by their bodily 
appetites, as indicated by the thickness and coarseness of 
the strokes. 

(2) The existence of contrasts in human nature ; for 
example, avarice and tenderness, indicating that the person 
might sympathise and help another in every way except 
with money. 

(3) There are traits which are nearly always present 
together or absent together, one of which may be detected 
while the other is hidden, so that when we see one we 
might almost infer the other. For example, if we see 
vivid and quick feelings we may conclude that the atten¬ 
tion tends towards diffusiveness and consequently a lack 
of concentration ; whereas with sluggish or slow or quiet 
feelings the tendency is for the attention to be more 
exclusive and consequently more concentrated. 

(4) Acquired habits as opposed to natural habits. The 
beginning of a letter often tends to show the acquired 
habits, whereas the latter part shows the natural habits 
or disposition. For example, the beginning of a letter 
being harsh and rigid and the latter part softening off 
into gentle curves would indicate something unpleasant 

♦ 10 


A Manual of Graphology 

in the recent or past experience, or that the nature has 
been constrained to assume this form through its in¬ 
harmonious environment. 

Before looking for traits of character in a specimen of 
handwriting, or after having analysed it, we might have 
to consider whether it was written under normal circum¬ 
stances, as anxiety, excitement, or illness would for the 
moment greatly affect it, and would only reveal the char¬ 
acter while in any of those states. We might also have 
to consider the writing materials, pen, ink, and paper ; if 
they are defective in any way, or if there were any 
mechanical difficulties to be overcome by the writer. 

In many cases we do not desire, nor have we time, to 
make a detailed study of the handwriting ; if we get a few 
general characteristics, we find them enough for practical 
purposes. 

Our own temperaments and dispositions will probably 
decide for us whether we shall be content with a few 
salient characteristics, or whether we prefer to go into 
details. 

There are different ways by which we may study the 
handwriting. For example, if we know the writer’s 
character by personal experience or from some other 
source, such as phrenology, palmistry, etc., we can 
compare the characteristics of the handwriting of this 
person with the same characteristics in the handwriting 
of a stranger, and deduce similar traits of character in the 
stranger. Let us suppose that we know the handwriting 
of some friend who is nervous, impressionable, artistic, 
etc.: we shall not be far astray if we infer some of these 
qualities from similar handwritings ; or we may think of 

ii 






A Manual of Graphology 

a single trait of character first, and then search for the 
signs that indicate it. If we take amiability, we should 
look for underhanded curves, openness of letters, rounded 
formations, and the letters diminishing in size towards 
the endings of words, as well as for other indications. 


12 




A MANUAL OF 
GRAPHOLOGY 

CHAPTER I 

THE PSYCHOLOGY OF HANDWRITING 

When we first learned to write, we concentrated our 
attention on the writing itself, and tried to make it con¬ 
form to a copy. This active form of attention was exer¬ 
cised by our conscious minds. As the result of the 
repeated exercise of our active attention to the practice of 
writing, writing habits were formed and the writing could 
be done with a minimum of active attention, as the latter 
was, to a great extent, replaced by the passive attention 
of the subconscious mind. Our active attention was then 
directed to the expression of thought in writing ; and as 
thought was subconsciously accompanied by, urged by, 
or else gave rise to feeling, this feeling tended to find an 
outlet in movement or gesture which caused the letters 
and words to take shape and occupy positions on the 
paper in accordance with our feelings. In other words, 
the feelings expressed themselves in our writing, as the 
writing was not written for itself alone but as a means to 
register the thoughts which we wished to express. 

As a rule, our active attention is to a certain extent 
diffused over our writing, expression, and the thoughts to 

13 


A Manual of Graphology 

be expressed. One part of the attention being directed 
more strongly to the thoughts, the writing receives a 
very small margin of conscious attention. Of course, 
the direction of the active attention sometimes varies so 
that it is more strongly concentrated on some one of 
these thoughts at one time, leaving a mere margin of 
attention for the others. 

Since it is in the subconscious mind that our feelings 
reside, the more the active attention is engaged with the 
expression of thought, the more will the writing reveal 
the feelings ; and the more the active attention is engaged 
with the penmanship, the less will the writing reveal the 
feelings. 

Our feelings, being innate, are true to our natures, 
although the words (artificial, arbitrary symbols) which 
we use may or may not be true to our feelings. 

If we observe the characteristic movements of the hand 
while a person is under the influence of certain feelings, 
we shall be able to observe a close analogy to those move¬ 
ments in the strokes of the handwriting : i.e. the ascending 
movements of hope, the descending movements of sad¬ 
ness, etc. There are also refined feelings which give 
rise to refined movements, and strokes which indicate 
intellectual qualities by their very simplicity, simplifica¬ 
tion, or abbreviation ; and when we see strong and 
decisive strokes we can infer strong and decisive feelings 
or strength of will power. 



CHAPTER II 


THE PHYSIOLOGY OF HANDWRITING 

The nerves connected with every organ and tissue of 
the body are united in the lower brain, and are from 
thence connected with the cortex or outer surface of the 
brain. 

The lower brain is the seat of the subconscious mind, 
and the cortex is the seat of the conscious mind. 

The cerebro-spinal system of nerves is under the control 
of the conscious mind, and it conveys the current result¬ 
ing from voluntary thought to the muscles of the hand, 
fingers, and thumb in the act of writing. 

The autonomic system of nerves is connected with the 
cerebro-spinal system, and is under the control of the 
subconscious mind ; and the latter, although indirectly 
under the control of the conscious mind, is constantly 
acting independently of it (it is held that the sub¬ 
conscious mind is a link between mental processes on the 
one hand and spiritual processes on the other) ; and the 
subconscious mind not only controls the vital actions of 
the body, i.e. the automatic activities of the heart, respira¬ 
tion, etc., but sends the current resulting from the feeling 
which accompanies thought, instinct, and habit through 
the nerves to the muscles of the hand, fingers, and 

15 


A Manual of Graphology 

thumb, as well as through the nerves going to other 
parts of the body. But it is the recorded movements 
in writing which we can study at our leisure, subtle 
movements which would be too swift and delicate to 
perceive directly. 


CHAPTER III 


THE PHYSIOLOGICAL CONNECTION BETWEEN 

HAND AND BRAIN 

The two following quotations are taken from Professor 
Culverwell’s book on The Montessori Principles and 
Practice :—“ It is indeed beyond all doubt that in 
early infancy any marked deficiency in manual dexterity 
implies a deficiency in mental power ; and further, that in 
such cases the brain must be educated through the hand 
before it can be educated through the ordinary mental 
channels.” “ An idiot can he trained to think consecutively 
by training his hands.” 

We see from the above quotations the influence of con- 

/ 

trolled muscular movement upon the brain and mind. 

The writing centre is so closely connected with the 
speech centre that “ as a general rule derangement of 
writing runs nearly parallel to motor derangement of 
speech.” 

Clear writing may mean clear articulation, and it is a 
matter of common observation that there is an intimate 
connection between clear articulation and clear thought. 
The cultivation of good handwriting makes for the control 
and organisation of nervous impulses, and has a salutary 
effect upon the mind. It means a cultivated eye (as the 

17 2 


A Manual of Graphology 

eye is also trained) as well as a cultivated hand, habits of 
accuracy, observation, neatness, and method. 

Good handwriting is not a reliable criterion of in¬ 
telligence, but is an indication of the cultivation of auto¬ 
matic order in the mind, no matter how small or how 
great the intelligence. 

Bad handwriting may indicate carelessness, inaccuracy, 
lack of observation, of neatness, and of method, emotional 
disturbance, impatience, insanity, or nervous strain or 
disturbance brought about by anxiety, according to the 
other signs in the handwriting. The intelligence may be 
of a high order, yet it would be better for the individual 
if he controlled his feelings, and kept his muscles more in a 
state of repose. 

Men of intellect sometimes work under great nervous 
tension. They see ahead and feel the spirit of that which 
they are writing, and thoughts flow too quickly for the 
pen. The result is inco-ordination and chaos in the 
writing. Victor Hugo’s manuscript has been described 
as “ a battlefield on paper, in which the killed words were 
well stamped out, and the new recruits pushed forward in 
anything but good order.” It was also compared to “ a 
sheet of music in which the numerous blots took the 
place of crotchets and quavers.” 

A spontaneous, harmonious handwriting, the result of 
easy, harmonious muscular movement, indicates a restful, 
healthy, balanced state of mind ; whereas jerky and stiff- 
looking handwriting indicates a great expenditure of 
energy as the result of nervous tension, and this again is 
the result of an emotional state. 

A writer’s health may break down under the emotional 

18 


A Manual of Graphology 

strain of creative literary work. This emotional strain is 
one of the commonest causes of neurasthenia—a condi¬ 
tion in which the person is easily exhausted or fatigued. 

Dr Paul Hartenberg, in his book on The Treatment of 
Neurasthenia , says that this rapid exhaustion betrays 
itself also in the handwriting of many neurasthenics. 
Whilst the beginning of the written line may be horizontal 
or even sloping slightly upwards, the latter part inclines 
downwards more and more as the words approach the 
edge of the page. 


19 




CHAPTER IV 


HOW THE HEART’S ACTION AFFECTS 
THE HANDWRITING 

Two sets of nerves connected with the heart have their 
origin in the base of the brain. One set—the inhibitory 
(cranial nerves)—when energy is discharged through them, 
tend to slacken, and the other—the accelerators (sym¬ 
pathetic nerves)—to increase its action. The impulses 
descending through these two sets of nerves exert a 
regulatory function upon the rhythm, so that the heart’s 
action is balanced between two opposing streams of 
nervous impulses. 

Each action of the heart—expansion or contraction— 
causes a wave of motion to travel along the largest blood¬ 
vessels (arteries) with gradually diminishing force to the 
smallest blood-vessels (capillaries), since the impulse is 
spent in the elastic recoil of the walls of the large blood¬ 
vessels. When the arteries are dilated and rigid, as in 
old age or disease, there is no elastic recoil until the 
impulse reaches the capillaries in the fingers and a 
“ pulse ” is produced there. Every beat of the “ pulse ” 
then produces a slight shake of the hand and fingers, and 
leaves a record in the strokes of the handwriting. 

In every person, whether young or old, healthy or 


20 


A Manual of Graphology 

unhealthy, mental and bodily states are continually 
affecting the heart’s action, either through the accelerating 
nerves or inhibitory nerves, or both together. When the 
accelerating nerves are stimulated, the waves of motion 
are reinforced, and a diffusive action takes place in the 
muscles of the body at the same time, owing to the 
distributed connections of the sympathetic system of 
nerves (the accelerating nerves belong to the sympathetic 
system) ; the forearm and the hand holding the pen 
are therefore caused to shake. When the inhibitory 
nerves are stimulated there is slower action of the heart 
and steadier movement of the hand, since the heart 
muscles get longer periods for rest and invigoration, no 
diffusive action taking place in the other muscles of the 
body, because the inhibitory nerves, having few of the 
distributed connections characteristic of the sympathetic 
nerves, act distinctively on the heart itself. 

Emotional excitement acts upon the accelerators, and, 
owing to the dominance of the sympathetic nerves with 
which they are connected, these are capable of readily over¬ 
whelming the conditions established by the nerves of the 
cranial system. If a writer, having seventy-five pulse 
beats in the minute at the time of writing, writes his name 
in four seconds, his pulse will have beaten five times in 
the writing of it. So that, if the arteries are dilated and 
rigid, we should look out for distinct records of the heart¬ 
beat in the writing (unless the writer holds the pen firmly 
in order to overcome the shaking of his hand). Fractured 
letters, notched strokes, noticed especially at the top of 
looped letters, would indicate defective respiration, which 
accompanies certain kinds of heart trouble. Dots placed 

21 


A Manual of Graphology 

here and there would indicate difficulty in breathing ; and 
strokes bent in, or notched half way up the stroke, are a 
sign of heart disease. Sometimes anxiety, or a temporary 
indisposition, might produce some of these effects in a 
healthy person’s handwriting. 







o oLtujui 




Oula ^a.a ><j l 

QjUMAa tUccfcr 5 


(TO €. < . 


OtAJL OTcM^' O/^A^A. 

Jcrv ft 

r 

Cvu<. QlUsLA fy**£<*~ 

OUrcLjL*t OlIcutLa^ /O ff- 

f 


An example of the effect of the heart’s action in a case 
of rigid arteries (arteriosclerosis). Observe the “ I ” 
in Iodine and the fractured stroke at the junction of “ A ” 
and “ 1 ” in Alcohol, as well as the general shakiness. 



J a/yro 
jK^jnAj 


The above specimen was written by a man who was 
troubled with a weak heart, tuberculosis, and bronchitis. 


22 











A Manual of Graphology 

This man was troubled with heart disease and tuber¬ 
culosis. Examine the strokes of the individual letters, 

cboarr Xcr nxr &>uM 

Mjl JXq 3n/yu/fCO?zxsi ajs $ 

flyCOV^ A<i C*ut oj- CL Jj7~nja^ 

flsmSL OLQ j (hxA VLlt' 

Jhrt fifttto/r- -c fytsrxtid i 



and you will perceive inequalities of pressure and shaki¬ 
ness. The writer tried to write this carefully. 


JdLA *^C- / 




Another example of how the writing is affected by 
heart disease. 


23 


CHAPTER V 


HOW THE NUMEROUS MUSCLES OF THE 
BODY ARE BROUGHT INTO PLAY IN THE 
ACT OF WRITING 

The pen is kept steady by the tension of the muscles of 
the hand, wrist, forearm, upper arm, shoulder, and 
thorax. 

The right-handed and left-handed movements ( i.e . in 
the direction of the hands of a clock and the reverse 
direction), as well as movements towards and movements 
away from the body, required to form the letters are 
performed by the muscles of the hand and forearm, as 
well as those of the wrist. The hand is moved from 
left of page to right by the extensor muscle of the upper 
arm chiefly, and from right to left by chest muscles. 

The muscles of the whole body are kept firm, in order 
to give the requisite steadiness to the arm and hand. 

The muscles of the neck, shoulders, and left arm and 
hand are kept moving along with the other parts of the 
body, and are constantly adapting themselves to the 
necessary changes of position, or move in sympathy with 
the nature of the thoughts . 

The softness of the muscles and laxness of the joints in 
children and women, and those not accustomed to hard 

24 


A Manual of Graphology 

manual labour, will produce a corresponding lack of 
firmness and steadiness in their handwriting. 

The seasons of the year, or anything which raises or 
lowers the temperature of the body, will affect the muscles 
of the hand. Cold causes contraction of muscle and 
drives the blood inwards, causing deficient circulation 
and want of power in the grip of the pen, but increased 
activity ; whereas heat has the opposite effect. 

(The muscles are in a state of excessively minute 
tremor at the rate of about ten to twelve vibrations a 
second. These vibrations do not affect the handwriting 
so long as the nerves are healthy ; but in certain diseased 
conditions— i.e. paralysis agitans—the muscles vibrate 
at the rate of three to seven vibrations a second, and this 
is exaggerated by voluntary movement, so that it is 
recorded in the up and down strokes of the handwriting.) 

The sensitive eye muscles are indirectly brought into 
play. The state of the writer’s eyesight and his power of 
perceiving the letters which he writes, as well as the 
resulting bodily position, will affect the muscles of the 
hand, and consequently the strokes of the handwriting. 


i 


25 



CHAPTER VI 


HOW THE NUTRITION OF THE BODY 
AFFECTS THE HANDWRITING 

The heart pumps the blood through the arteries at each 
beat. These arteries are united at the ends to the 
commencement of the veins, where the interchanges 
between cell and blood take place. The foodstuffs pass 
to- the cells of the tissue, and diffusible substances are 
withdrawn from the tissues by the blood. 

“ The blood supply affects all parts of the system, 
for the most minute and remote cell has no other 
source of nourishment, and therefore of life, than the 
blood.” j 

Lack of proper nourishment impoverishes the blood, 
which therefore does not nourish the nerve centres and 
muscles, so that the writing lacks buoyancy. 

Poisons or drugs entering the circulation have a 
selective action upon certain nerve centres and muscles, 
and will also produce noticeable accompanying peculiar 
variations of character, and will consequently affect the 
muscles of the hand while writing. This is specially 
noticeable in the case of alcohol. “ The effects of 
alcohol upon the blood cause its nutritive qualities to be 
impaired and its oxygenation and circulation retarded.” 

26 


A Manual of Graphology 

Effete and stagnant matter is not eliminated. The brain 
is injured. Tremor and lack of co-ordination are observed 
in the strokes of the handwriting of the alcoholic. 

The more rapidly oxygen is carried to the tissues, and 
the greater the increase in the flow of blood, the greater 
will be the activity of both brain and body. The blood, 
containing impurities withdrawn from the tissues, is 
collected by the veins and returned to the heart. The 
latter pumps the impure blood into the lungs, where it 
becomes oxygenated, and the poisons are thrown off in 
the breath ; thus purified by the inhaled air, it enters the 
heart, and is pumped out to undergo the same cycle of 
changes over again in a continuous manner. 

Therefore improper breathing, or the breathing in of 
impure air, prevents the blood from becoming oxygenated 
and thus purified ; and the result is that the impurities 
are carried round in the circulation again, the tissues 
become poisoned and the nerves become diseased. The 
brain will be sluggish in action, there will be a want of 
active attention, and the muscles will lack tone. The 
writing will be laboured-looking and descending. 




Poisons circulating in the system, diseased nerves. 


27 



A Manual of Graphology 


The Numerous Bones and Joints of the Hand brought 

INTO PLAY IN THE ACT OF WRITING, AND THE EFFECT 

of Friction at the Jointed Surfaces. 


The complicated movements of the hand and fingers 
bring into play the numerous bones and joints. 

The jointed surfaces of the bones are covered by white 
cartilage ; they are also kept lubricated by fluid secreted 
there, consequently friction at the joints is reduced to a 
minimum. 

When the joints are affected— e.g. concretions around 
them, erosion, malposition, cartilage dry or worn away, 
and no self-lubrication—they grate against each other, 
are stiff, and in some cases immovable. These con¬ 
ditions are often accompanied by wasting of some muscles 
and increased tonicity of others, as in certain kinds of 
rheumatic trouble. 

The loss of power in the grip of the pen, the short, 
limited movements, and the lack of flexibility and co¬ 
ordination are shown in the handwriting. 





Examples of the effect of rheumatism upon the handwriting 

28 



X-ray photograph pi the hand 
2 9 




CHAPTER VII 


A FEW OBSERVATIONS IN REGARD TO PEN, 

INK, NOTEPAPER, PHYSIOGNOMY. AND STYLE 

(i) The kind of pen which a person uses is to a certain 
extent indicative of his character. Preference for a fine- 
pointed steel pen would be characteristic of a person who 
has different qualities from the one who prefers a broad- 
pointed “ J ” or quill pen. 

Fine-pointed Steel Pen = Activity, sharpness, 
vivacity, affection, kindness, quick temper, 
sensitiveness. 

Broad-pointed “ J ” or “ Quill ” Pen = Steadiness, 
self-will, fond of pleasure, love of ease. 

(2) In regard to ink, most of us use the ordinary blue- 
black ; but if a person has a preference for red ink, it 
would suggest the type of person who would be loud in 
other things and would probably be of a Martian or 
choleric temperament. 

(3) Notepaper—Poor Paper = Poverty or economy. 

Good ,, = Wealth or luxuriousness. 

Scented ,, = Caprice, love of luxury, 

affectation, etc. 

(4) Every handwriting has a physiognomy of its own, 

3° 


A Manual of Graphology 

which gives you a feeling which is difficult to put into 
words. You cannot rob it of its mystery, just as the 
botanist cannot rob a flower of its mystery. But the 
interpretation of the graphological signs will help you to 
understand it better, as the interpretation tends to modify 
or confirm this first impression. 

(5) A graceful, delicate style of writing would indicate a 
fine organic quality of the physical constitution ; whereas 
a coarse style would indicate a coarser build. 

Very often the words used in describing the style of a 
handwriting will describe the corresponding outstanding 
traits in the character, or a close analogy, viz.: methodical, 
artistic, slovenly, simple, plain, elegant, harmonious, etc. 

Variety of style of letters— i.e. capital letters, different 
shapes, making looped letters at one time and at another 
substituting straight lines for them—indicates versatility. 



3 1 


CHAPTER VIII 

A PRELIMINARY FORMAL EXAMINATION 


Take any specimen of handwriting and go through the 
following process, using your own judgment as well as you 
can in selecting the proper meanings for the signs. 

(1) First of all, see how the writing is placed upon the 
paper—is it high up or low down ? 

High Up=Economy, vulgarity. 

Low Down = Extravagance. 

(2) Are there any margins at the sides, or is the whole 
notepaper covered with writing ? 

Regular Margins = Taste. 

Irregular Margins = Want of taste, untidy habits. 

No Margin on LEFT=Economy, want of taste, vul¬ 
garity, avarice. 

Even Margin on Left = Esthetic taste, orderliness, 
love of harmony and proportion, conscien¬ 
tiousness. 

Even Margin on Right = Artistic feeling, patience, 
delicate taste. 

Writing placed on the Paper so that the Margins 
are Balanced = Prescience, judgment. 

(3) Examine the direction of the lines of writing ; do 

32 



A Manual of Graphology 

they go in a serpentine manner across the paper like 
ranges of hills ? 

Serpentine = Mental flexibility,inconsistency,finesse, 
untruth, agitation, impressionability, hesitation, 
diplomacy, mental effort, tact, diseases of the eye. 

(4) Do the lines ascend or descend, or are they 
horizontal ? 

x\scending Writing = Ardour, ambition, hope, good- 
humour, mirth-loving, courage, energy, pro¬ 
sperity, cheerfulness. 

Descending Writing = Sadness, want of ardour, 
discontent, despondency, want of enthusiasm, 
unhappiness, melancholia, ill-health, fatigue, 
debility, timidity, want of self-confidence, un¬ 
easiness, discouragement, indolence, weakness, 
depression of spirits. 

Ascends at the Beginning of a Line and Descends 
towards the End = Embarrassment. 

Horizontal Writing = Moderation, medium en¬ 
thusiasm, calmness, normal condition of mind 
and body, health, determination, straight-for¬ 
wardness." 

(5) Examine the size of the writing. Is it large, small, 
or medium ? 

Large Writing = High aspirations, much pride, 
generosity, greatness of soul, magnanimity, 
presbyopia, pride, imagination, simplicity of 
nature, frankness, large-heartedness, boldness, 
self-assertion, self-esteem, fondness for general¬ 
ising. 


33 


3 


A Manual of Graphology 

Small Writing = Love of detail, reserve, petti¬ 
ness, acuteness, minutiose faculty, cheerfulness, 
spirituality, economy, short-sightedness, opinion- 
ativeness, mental subtlety, power of assimilating 
knowledge, logic, bigotry. 

Medium Size of Writing = Balanced characteristics. 

Size of Writing Varying at Different Times and 
also Dependent upon the Size of Paper = 
Adaptability, mental flexibility, imitative faculty. 


(6) Observe the shape of the letters : are they angular, 
round, or square ? 




Angular = Obstinacy, firmness, hardness, selfishness, 
positiveness, precision, perseverance, activity, 
penetration, acuteness, restlessness, irritability. 

Round = Gentleness, gracefulness, weak will, imagi¬ 
nation, aesthetic sense, complacence, calmness, 
good-nature. 

Square ^Truthfulness, talent, eccentricity. 


(7) Do the letters slant forward or backward, or do 
they slant every way—at one time forward, at another 
time backward ; or are the letters vertical ? 


Letters Slanting Forward = Passion, impression¬ 
ability, irritability, morbidness, desire of 
approval, affection, sensibility, feeling, hyper¬ 
sensitiveness, tenderness, keenness of interest, 
devotion, emotionality. 

Letters Slanting Backward = Distrust, exaltation, 
restrained sensibility, dissimulation, reserve, 

34 




A Manual of Graphology 

suspicion, originality, brusqueness, gaucherie, 
diffidence, apathy. 

Letters Slanting Every Way = Impressionability, 
agitation, variability of mood, caprice, mobility 
of feeling, indecision, unsettled state of mind, 
disordered nerves, exhaustion, fear, alcoholic 
excitement. 

Letters Vertical = Reason, energy, coldness, selfish¬ 
ness, self-complacency, sarcasm, determination, 
obstinacy, absence of quick spontaneous sym¬ 
pathy. 

(8) How are the lines spaced out ?— i.e. the vertical 
distances, or the distance a line of writing is below the 
previous line. 

Lines Spaced Out = Prodigality, extravagance, 
generosity, fondness for display, lucidity of 
thought, friendliness, kindness, love of ease, 
improvidence. 

Lines Evenly Spaced = Clearness of ideas, harmony, 
love of order, neatness. 

Lines Close Together = Economy, reserve, selfish¬ 
ness, reticence, caution, avarice, lack of dis¬ 
tinction. 

(9) Observe the thickness of the strokes : are they fine, 
thick, or of medium thickness ? 

Fine = Delicacy, aesthetic tastes, refinement, sensi¬ 
bility, spirituality, weakness. 

Thick = Sensuousness, materialism, physical 
strength, courage, strength of will, dignity, love 

35 



A Manual of Graphology 

of life and outdoor pursuits ; or they may 
indicate coarseness, gluttony, amativeness, and 
a choleric temperament, according to other 
indications in the writing. 

Thick Horizontal Strokes = Liveliness. 

Thick Vertical Strokes = Slowness. 

(io) Are the words equal or unequal in height ? 

Equal = Calm judgment, decorum, rectitude, 
conscientiousness. 

Unequal = Mental pliability, sensibility, indecision, 
hesitation, weakness, versatility, or untruthful¬ 
ness. 

(n) Are the letters of the words equal or unequal 
distances apart ? Are they close together or spread out ? 

Letters Equal Distances Apart = Judgment, neat¬ 
ness. 

Letters Unequal Distances Apart = Lack of 
neatness. 

Letters Close Together = Economy, reserve, argu¬ 
mentativeness, ungraciousness, reticence, hard¬ 
heartedness. 

Letters Spaced Out = Sociability, kindliness, 
generosity. 

(12) See if the small letters are connected or dis » 
connected, or if some are connected and others discon-j 
nected. 

Letters Connected Together = These show an 
intellectual sense, a grasp of theory, creative 
faculty, power of comparison, and intuition. 

36 


A Manual of Graphology 

Some Letters Connected and others Discon¬ 
nected = Power of assimilation, or assimilation 
and comparison, an encyclopaedic mind. 

(13) Are the o’s and a' s, etc., open at the top or bottom, 
or closed ? 

o’s and a s, etc., Open at Top = Open-heartedness, 
frankness, candour, unconstraint, effusiveness. 

o’s and tf’s, etc., Open at Bottom = Dissimulation, 
hypocrisy, lying. 

o’s and a’s, etc., usually Closed = Accuracy, dis¬ 
cretion, reserve, secretiveness. 

(14) Look at the long letters, especially the /’s, yi* s, g* s, 
;’s, p' s, or t’s, etc. Are the loops excessively long ? or if 
loops are used instead of single upstrokes and down- 
strokes in p and t , etc.; or if loops of y* s, ^’s, /’s, etc., are 
replaced by single strokes. 

Loops Excessively Long = Exaggeration. 

Loops Used instead of Single Upstrokes or Down- 
strokes in p and t , etc. = Love of home, 
affectionate disposition. 

Loops of y’ s, g* s, /’s, etc.; replaced by Single 
Strokes = Mental culture, simplification, purity. 


37 










CHAPTER IX 

CAPITALS AND “ t ” BARS 

Capitals have a character of their own : their height 
showing the amount of self-esteem and imagination pos¬ 
sessed by the writer ; their shapes indicating whether 
he is conceited or modest, artistic or inartistic ; their 
width showing whether he is bold or restrained. 

Tall Capitals = Self-esteem, lively imagination, 
pride. 

Medium-sized Capitals = Modesty, restrained ima¬ 
gination, moderation. 

Low Capitals = Humility, weak imagination, or they 
may indicate hypocrisy. 

Flourished Capitals = Conceit, vanity, pretension, 
self-importance, self-assertion. 

Curled and Twisted Capitals = Vanity. 

Elegant, Symmetrical Shapes of Capitals = 
Artistic taste, sense of beauty, refinement. 

Inelegant, Unsymmetrical Shapes of Capitals = 
Absence of artistic taste, vulgarity. 

Wide Capitals = Boldness, force of character, self- 
dependence. 

Narrow Capitals = Restraint, weakness, inertness, 
disappointment, timidity, uneasiness, disquie¬ 
tude, feebleness of character. 

38 


A Manual of Graphology 

Bar of “ t ” 

The regularity of the “ t” bar indicates the amount of 
steadiness of will ; its length, the amount of animation ; 
its strength, vigour; its height, ambition; its position 
on the stroke apart from height, the amount of enterprise , 
its shape, the amount of imagination and gaiety ; its 
termination, the amount of optimism and perseverance. 

Regular in Form and Size = Steadiness of will, 
calmness. 

Irregular or Absent = Fickleness, lack of will 
power, irresolution, versatility. 

Long = Animation, impulse, ardour. 

Short and Slender = Indecision, feeble will. 

Short and Strong = Great energy. 

Strong = Vigour. 

Slender ='Want of vigour. 

High Up = Ambition. 

Low DoWN=Passive nature, resignation. 

“ t ” Bar on Right Side of Upstroke = Enterprise, 
energy, initiative faculty, executiveness. 

“f” Bar on Left Side of Upstroke = Tardy 
resolution, caution, timidity, weakness. 

“ t” Bar of the Nature of a Flourish = Imagina¬ 
tion, egotism. 

“ t ” Bar of the Nature of a Serpentine Line = 
Gaiety, merriment. 

“ i ” b ar of the Form of the Lash of a Whip = 
Effusiveness, fancy. 

“ t ” Bar Trending Up = Optimism. 

“ t ” Bar Trending Down = Pessimism. 

39 



A Manual of Graphology 

When examining the handwriting for traits of character 
it would be as well to do so without reading the subject 
matter, as there are illusions of perception produced by 
familiarity in reading, and we are apt to slur over familiar 
characteristics instead of studying them. Invert the 
paper or look at the reflection in a mirror. 

If you look at any handwriting for a moment to get a 
clear picture of it, then close your eyes and look at the 
mental picture, you will be able to focus your mind on 
it better, as the exclusion of the sense perception has a 
clarifying effect upon the mind. 




CHAPTER X 


THE RECOGNITION OF ACTIVITY IN 
HANDWRITING 

Although we may never have studied Graphology, we 
at once recognise lively and sprightly-looking hand¬ 
writing. The writing seems to be alive. In other words, 
“ the lines seem to embody an activity in themselves, an 
activity which we as active beings read into them. By 
practice we can refine our observations in regard to the 
degree of activity, and can gauge to a certain extent 
whether the specimen was written rapidly, or at medium 
speed, or slowly. 

Written Rapidly = Ardour, activity, ready wit, 
animation, mental activity, rapid thoughts, 
ease in mental processes. 

Medium Speed = Moderation, discretion, reserve, 
prudence, non-excitability, cautiousness, dignity, 
calmness, modesty, want of confidence, timidity, 
mistrust, dissimulation. 

Written Slowly = Calmness, slow intelligence, want 
of activity, ill-health, timidity, embarrassment. 

Apart from the recognition of the degree of activity, we 
can observe whether it was harmonious or inharmonious ; 
or of the dashing kind with large sweeps of the pen, known 

4 1 


A Manual of Graphology 

as pronounced movement ; or of the controlled kind, 
known as temperate movement, where there is an 
absence of these extra sweeps of the pen. 

Harmonious Movement = Artistic feeling, sense of 
harmony, cultivation, good taste, well-regulated 
imagination, good health. 

Inharmonious Movement = Absence of artistic 
feeling, ill-regulated imagination, eccentricity, 
nervous susceptibility, originality, egotism, 
strong personality, self-assertion. 

Pronounced Movement = Imagination, gaiety, grace¬ 
fulness, animation, pride, communicative nature, 
excitability, mental agitation, want of judgment, 
heedlessness, and, in excess, madness. 

Temperate Movement = Prudence, reflection, pre¬ 
cision, cautiousness, self-government, judicious 
reserve, sharp-sightedness, want of confidence, 
mistrust, timidity, dissimulation. 

We can also observe whether the activity is of a calm 
nature, or agitated, or trembling, or hesitating. 

Calm = Placidity, inertia, indolence. 

Agitated = Nervousness, fear, alcoholic excitement, 
fatigue. 

Trembling = Old age, agitation, cold, fatigue, appre¬ 
hension, fright, indignation, anger, alcoholism, 
personal excesses, paralysis agitans, paralytic 
tendencies. 

Hesitating = Embarrassment, fear, indecision, solici¬ 
tude, timidity, caution. > 


42 


CHAPTER XI 

GRAPHOLOGY AS DETECTIVE WORK 

Owing to the nature of Graphology, the signs which you 
see in a handwriting can only furnish hints, which must 
be amplified by experience. You should be able to a 
certain extent, by your knowledge of people, to size up 
the characteristics which you have found, and infuse file 

into them. 

Graphology is first-class detective work ; and just as a 
detective by the nature of his training and breadth of his 
knowledge becomes an expert at finding clues and follow¬ 
ing them up, so will the student of Graphology become 
more expert at finding the significant—although perhaps 
not very obvious—signs, and at following them up. 

For instance, if you see in a handwriting signs indicative 
of hope and depression, as well as of a certain amount 
of nervousness, you will not be far astray if you infer 
; that the writer is anxious about something, or is perhaps 
in ill-health; or if you see sensuousness in the writing, 
you may infer love of pleasure ; or again, if you see in a 
well-balanced handwriting indications of firmness and 
hope, you will combine these characteristics, and infer 
that health, happiness, and success will result from this 
combination. A handwriting may be presented to you 







A Manual of Graphology 

with the question, “ Is this person dishonest or un¬ 
truthful ? ” or perhaps an inquiry may be made in 
regard to some other trait which cannot be directly 
observed from the handwriting. Your best plan in such 
cases will be to analyse the writing. 

Anticipate questions by putting them to yourself. 
What are the characteristics of dishonesty and untruth¬ 
fulness ? You will notice that they are very closely 
allied, so that, when you see one, some other very slight 
indication will lead you to infer the other. 

Lack of straightforwardness is characteristic of both. 
The lines of writing will be uneven or irregularly spaced. 
There is a desire to conceal (o’s tightly closed). In 
the dishonest person, thievishness is the characteristic, 
therefore we should expect to see acquisitiveness indicated 
(letters close together). Dissimulation is the character¬ 
istic of the liar, and misrepresentation is shown by un¬ 
evenness in the size of letters, final letters illegible or 
glossed over, interchangeable letters, etc. 

Some of the resulting qualities deduced from combina¬ 
tions of signs :— 

Poor Judgment = Inclined handwriting, pronounced 
movement, long t bars, irregular margins, 
writing not well placed on paper. 

Love of the Marvellous = Large “heads” to 
capitals, inclined handwriting, circular style, high 
dots to i s, perpendicular ascending final strokes. 

Dishonesty = Lines of writing irregular, words not 
evenly placed and diminishing in height, lack of 
harmony in the pen movements ; capitals and 

44 



A. Manual of Graphology 

loops either very low or exaggerated in height 
and embellished ; lack of consistency in form¬ 
ing letters, crossing t’s, etc. ; sometimes very 
small handwriting, exaggerated movements of 
the pen, irregular slant to the letters, i.e. not all 
slanting the one way, the letters at the end of 
words being diminished into a thread-like line ; 
finals turned inwards ; very low bar to t. 

Perplexity = Agitated movement, stop placed at 
beginning of a sentence, t bars and i dots on 
left side of letter, lack of forward movement in 
the handwriting. 

Indecision = Lack of energy in the movement of the 
handwriting, low capitals, agitated movement. 

Anger and Violence = Club-like terminals, t bars 
and i dots, heavy writing, pronounced movement. 

Enterprise = Pronounced movement, ascending 
handwriting. 

Irritability = Agitated movement, club-like stroke 
or large inclined handwriting, large flourished 
capitals, any of the indications of sensibility, 
with any of the above. 

Good Judgment = Writing well placed on the paper, 
even margins, all those characteristics which 
indicate precision, small or medium-sized 
angular handwriting. 


45 



CHAPTER XII 

IMAGINATION IN HANDWRITING 

Let us ask ourselves what are the outward characteristics 
of an imaginative person, or what is generally understood 
as one, and then examine the gestures in his handwriting. 
1 he imaginative type of person has a dreamy look ; he is 
sensitive, fanciful, idealistic ; he builds castles in the air ; 
his behaviour is impulsive ; he may be melancholy or 
superstitious ; his visions grow to be real to him, and have 
a stronger influence over him than practical affairs. Art, 
music, or poetry appeals to him. He knows that he is 
different from other people, and consequently goes to 
secluded places to enjoy himself by himself. One kind of 
imaginative peison, be he author, poet, or musician, is 
more receptive to one kind of impression than is another ; 
he is prone to indulge in an emotional state which affects 
the course of his thoughts, giving rise to further imagina¬ 
tive constructions. Suggestions which are in accord with 
his latent desnes or tendencies are very acceptable to his 
mind. He is hardly aware of these desires and tendencies, 
and when he allows his thoughts to flow along he is drama¬ 
tising as in a dream state some side of himself that is not 
usually free to function. This side of his nature is that 
which manifests itself in his strokes. 

46 ; 












A Manual of Graphology 

Dreamy = Strokes loosely formed and rounded, 
letters disconnected. 

Sensitive = Sloping writing and variation of slope. 

Fanciful = Fanciful formations of capitals. 

Idealistic = Beautiful formations. 

Sublime Conceptions = Large writing (large and 
dashing strokes = exaltation). 

Impulse = Strokes fining away, disconnections here 
and there in the writing. 

Melancholy = Lines of writing have a tendency to 
slope downwards. 

Superstition =i dots placed high up, endings 
perpendicular. 

Reserve = Writing contracted. 

Imagination has its origin in feeling or emotion. It 
may be that feelings or emotions are the original crude 
instincts in another form, which must be suppressed in 
the practical affairs of everyday life, and since they are 
denied an outlet one way they find another outlet by 
becoming intellectualised in imaginative constructions. 
These instincts cause the individual to perceive the things 
related to them, so that he has an aptitude for noticing 
and acquiring these things more rapidly than others. 
He actually dwells upon them for the sake of the exalted, 
interesting, or pleasurable feelings associated with them, 
and these feelings produce the incidents in dreams, since 
thev conjure up mental pictures or memories associated 
with them. Under a feeling of love, images appear which 
show up the beloved one under the best possible condi¬ 
tions, and under a feeling of hate the object is shown up 

47 


A Manual of Graphology 

under a reverse aspect. If an energetic man goes to bed 
hungry after reading a novel of adventure, he may dream 
that he is hunting animals, or killing and eating them. We 
see from this that imagination is not merely the memory 
of images, but is a constructive process urged by feelings or 
emotions which may be mixed or composite. An accom¬ 
plished liar puts a constructive imagination to an improper 
use by the underlying feelings, probably those of fear ; 
just as a burglar may have courage and ingenuity and 
observation, which he also puts to an improper use as 
the result of certain underlying primitive feelings. The 
combativeness of primitive men has been transmuted into 
activity or energy in action in the modern man ; but 
this is not sufficient to stamp out its original nature, so 
that it becomes intellectualised to a certain extent in 
mental pictures of fighting, and a love of books of adven¬ 
ture, or in dreams of fighting for some cause. 

The nature of the signs in the handwriting will give 
a hint as to the kind of imaginative work performed by 
the mind, or the underlying tendencies of the mind :— 

Large, Bold Writing = Adventure. 

Sloping and Rounded, etc. = Affection. 

Small Writing = Observation (detective work). 

Fanciful Formations = Fantasy. 




48 








CHAPTER XIII 


TENDENCIES OF THE MIND, OR INDICATIONS 
OF THE BUSINESS OR PROFESSION 

Services = Large, bold writing, well-barred t y firm 
downstrokes ; or firm and clear handwriting, 
tall capitals, well-barred high-crossed t , careful 
punctuation. 

Literature = The style varies with the diverse interests 
of the authors : generally a small, nervous-looking 
style, letters disconnected here and there, abbrevia¬ 
tions, original shapes of letters, sometimes one word 
connected with another. 

Poetry = Similar in style to the above: irregular small 
letters, absence of order or restraint; original 
imaginative letters, especially capitals ; writing often 
descends. 

Science = Very distinct, clear, careful, patient. 

Law = Angular, clear, sharply outlined, upslanting fluent 

style. 

Medical = Firm, energetic, angular, and curved forma¬ 
tions, clear, sometimes unconnected abbreviated 

writing. 

Political =Tall capitals, somewhat angular and bold 
stvle, large writing, one word connected with 

49 ' 4 


A Manual of Graphology 

another, loops used in connecting words, old- 
fashioned “ hand,” upslanting. 

The Church = Simply-formed letters ; firm, curved, and 
sloping “ hand ” ; tall capitals, t bars high, clean 
style. 

Art = Graceful, shapely style ; original shapes ; precision 
of outline ; typographic and curved formations. 
The style of writing will depend upon the kind 
of art : if bold style of art with broad effects, the 
writing will be large and imaginative-looking ; if 
small and delicate kind of art, the writing will be 
small and fine, with little details to give it finish. 
The characteristics of art are: shapely letters, 
regular distances between them, even margins, oval 
shapes, precision of outline. These may be modi¬ 
fied by a strongly emotional type of artist. How¬ 
ever, the writing will rarely be such as to offend 
the eye ; it will on the other hand reveal the artist 
in a number of ways. Unevenness of shading of 
strokes is said to indicate a love of colour. 

Music = Rounded, sloping, soft, steady, flowing style; 
usually thick bars to t } well-curved capitals, twice- 
bent curves. 

Actor or Actress = Great movement apparent, writing 
slanting upwards, well-shaped capitals; compressed 
writing, capitals usually standing apart from the 
letters which follow them, letters uneven at base. 

Editor =Words connected together, letters disconnected 
here and there, abbreviation, clearness and regularity 
observed, neat style. 

Architect = Precision of outline; parallel, equi-distant 

5 ° 



A Manual of Graphology 

strokes ; neat, rather severe artistic style; typo¬ 
graphic shapes. 

Commerce = Plain, clear, methodical, practical-looking 
style. 


/ 


Illustrations 

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Literature. 

5 1 



A Manual of Graphology 





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Poetry. 




52 






A Manual of Graphology 









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Medical. 



53 








A Manual of Graphology 







The Church. 



A Manual of Graphology 







Editor. 




55 








CHAPTER XIV 


HEALTH 

Good Health = Writing fairly heavy, steady, clear, free, 
energetic, vigorous, buoyant, slanting upward or 
level, usually well spaced out (the latter showing a 
love of outdoor pursuits) ; inclination towards the 
use of flourishes not unusual. 

Bad Health = Writing lacking in force, unsteady, 
laboured-looking, spiritless, lifeless, lines slanting 
down, final strokes descending, sparing and without 
flourishes, indicating sadness, trouble, weariness, 
etc. 

Kinds of Sickness : Dyspepsia, liver complaints, bilious¬ 
ness = High, firm bar to t ; lines descend; hand¬ 
writing concentrated (non-expansive), turning back 
upon itself, sparing and without flourishes. 

Alcoholism = Writing thick, scratchy, lacking co¬ 

ordination, descending. 

Heart Disease, Palpitation = Breaks or slight interrup¬ 
tions in the up or down strokes, especially in the 
loops of the letters ; tremor in the strokes. 

Obesity, Constraint in Breathing=D ots and dashes 
placed frequently where not needed. 

56 


1 



A Manual of Graphology 

Asthma, Shortness of Breath = Slight and scattered dots 
and dashes placed frequently where not needed. 
Hysteria = Marked agitation, some single letters of 
exaggerated size, very sloping writing, some words 
larger than others. 

Tendency to Lunacy = Marked disorder in hand¬ 
writing. 

Fever, Excitement = Dots represented by little dashes 
considerably in advance of letters ; hasty strokes ; 
the letters of some words diminish in height, others 
grow longer ; some words illegible ; lines serpentine 
and wavy in direction, and descending. 

The more numerous specimens of a person’s hand¬ 
writing you can see, the more data you will have to 
work upon, especially when they are written undei 
different circumstances and at different ages. Different 
sides of the character are observable from the beginning 
and from the end of a communication, from the signa¬ 
ture, and from the address on the envelope. 

It is a good plan to ask people the reason why they 
make a certain formation, or use a certain pen ; the reason 
given is in itself an indication of character. 

One thing that is worth remembering is that you 
cannot expect your reading of the character to be 
correct if you are labouring under feelings of love or 
hatred towards the person whose character you are 
reading ; in such cases you will be inclined to gloss 
QYgj. Qj- exaggerate certain characteristics which a more 
disinterested person would take note of. 


57 


CHAPTER XV 
AUTOGRAPHS 



I he following are the traits of character and the signs 
which indicate them in the above specimen of hand¬ 
writing :— 

A bold and self-confident man who looks at things in 
a big way, judging by its general appearance. 
Good health—Writing vigorous and steady. 

58 







A Manual of Graphology 

Mental activity, rapid thoughts, ease in mental pro¬ 
cesses—Rapid movement. 

Strong personality, self-assertion—Large sweeps of 
pen. 

Practical instincts—Absence of margins. 

Self-esteem—Large writing. 

Good-nature—Rounded writing. 

Affection—Forward slant. 

Lucidity of thought, clearness of ideas—Even spacing 
and simple shapes. 

Love of outdoor life, physical strength, liveliness— 
Bold and distinctive style, thick strokes. 

Tact, finesse—Letters diminishing in size towards the 
end of words. 

Quick intelligence, active brain, practical reasoning 
mind—Habit of joining words together. 

Power of assimilating knowledge and of making 
comparisons—Small letters connected together 
in groups of three or four. 

Intuition—Some letters disconnected and placed 

side by side. 

Frankness, freedom from constraint—o’s and a' s, 

* etc., open at top. 

Loquacity— Loops of the upper looped letters long 
and flowing, and attached to the following 

letters. 

Imagination, pride, open-mindedness, self-esteem, 
independence—Tall capitals, and boldness of 
formation. 

Suavity, kindliness—Capitals formed all in one 
piece, underhand curves. 

59 


A Manual of Graphology 


Prudence—Curtailed finals. 

Animation, impulse, criticism—Bar of t irregular 
form and size, long, and ending in a point; 
the bar is usually on the right side of letter. 
Pride of name—Large writing, tall elegant capitals, 
a straight line underneath the signature (not 



shown), indicating a desire for the good opinion 




of others. 




Quick reflection, and concentration—Dot of i placed 

. 

is 


directly above first stroke of which letter 
composed. 

Memory of places—Bold style, original capitals, long 
downstrokes (vivid impressions, desire for 
novelty, and physical activity). 

Agreeableness—Absence of angles, etc. 

Love of society or capacity for making friends— 
Letters spaced out, curved and sloping to right. 

Constructive ability—Ingenious connection of letters 
and words. 

Love of life—Writing forcible and vigorous. 

Perception and appreciation of vast and large things, 
and a tendency to do things on a large scale 
—Large writing, pronounced movemerit, large 
loops. 

Ability to express thoughts—Letters and words 
connected together. 

Foresight—Equal distances between words, writing 
well balanced on the paper. 


60 



A Manual of Graphology 



Love of harmony indicated by the rounding in and out 
of the curves. Imagination indicated by graceful capitals 
and size. Originality is obvious. Artistic feeling is 
exemplified in the harmonious movement. 



Sensibility indicated by the slant; intuition by the dis¬ 
connected letters. Observation is shown by the smallness 
and precision of the strokes. 



Liveliness. The strokes of this signature seem to be 
endowed with life. 









A Manual of Graphology 


o 








Ambition recognised by ascending lines and rapid 
movement. Tact—the word “ Dennis ” decreasing in 
height. Desire for finish is shown by line under signature. 


Independence is shown by the h in Beerbohm. 
Sensuousness—Thick writing. 

Letters standing on different levels indicate a gift for 
dramatic art. 


^ v - -# ’V s « 
Q£u CU=w^ Oi0 



A*-* ■ 

7i y /Ct 



Handwriting of a journalist. Quick intelligence, 

62 




an 





A Manual of Graphology 

active brain, ingenuity, a practical reasoning mind and 
conversational gifts. 

J Juttfv (X y/u 

/if (? 


(oop/^s i 'd/ri.et s? . 

< 2 J'ri/i r C4s£c*i^j 


r f 


0<Z^7Zt 


Specimen of a clerk’s handwriting. This copperplate 
style does not reveal much character beyond the necessary 
qualifications of a clerk. “ A good machine.” 


-yv. —I 


^ ^ ■*<» 



Handwriting of a blood specialist. This “ micro¬ 
scopic ” writing indicates a love of minutiae. 

63 





A Manual of Graphology 




Specimen of a surgeon’s handwriting. Sharp, decisive 
writing, indicating sharp, decisive, controlled muscular 
action. This writing also indicates a quick temper by 
its speed and angularity, as well as by the abrupt and 
heavy strokes. 


^ a C 

J >V rjT. tfczu. 

£) Ae vc-/^ Cy 



A surgeon’s handwriting. The absence of rigidity of 
the strokes, as well as the cultivated style, indicates mental 
pliability. “ A man who can see a subject from all sides.” 
There has been just the necessary force used to produce 
the writing clearly, indicating balanced muscular action 
and economy of energy. . 


64 




A Manual of Graphology 




Lie. 


cl. 


Handwriting of an eye, ear, and throat specialist. The 
strokes are original, and have been formed by a precise 
and sensitive muscular movement. Keen observation 
and love of minutiae are shown by the small writing an 
attention to punctuation, etc. 


p * 

/ Si 


7 ^, s&u rur it 

tttf 'b.yirf 

fotlf «hJ< & Ttr?H*>6’ 

fyaAde l ^ Cd . - 

7h*,/2 /ifvu, V 0b*4u/fe * &f/ 

..■■■■ 'rf/ 


Handwriting of an organist. 

65 


Musical ability is indi- 

5 



A Manual of Graphology 

cated by the curves. Reserve is shown by the closeness 
of the letters ; intuition and idealism by the separation 
of individual letters as well as by graceful formations. 


.. 


''L-tsT^Z-y . g/' /?i XI*. 






n ^ 


The above writings lack force ; the lines and words 
descend, and the strokes are shaky and agitated. 


Ct <y/— (Vvv 

jf * yX L ft >ca 'irtriA^b tx*x o{ 

/Ll y xtXXx oC s/fLu. 7 , 


^J^ruA^O *-<AUL^h^- 


This specimen was written shortly after an accident. 
The writing is laboured and nervous. 

66 


A Manual of Graphology 
Z^L / ^y S <&, 



Great physical and mental activity. Passion—great 
slant to the right. Conversational gifts and wit indi¬ 
cated by the flowing lines, sharp disconnections, and small 

writing. 






The irregular, curving, rapid movement shows mobility 
of feeling, mental activity, and diffusive attention. The 
writer sees many points at once, and unconsciously notes 
all that is taking place around him. Letters standing on 
different levels indicate a gift for dramatic art. 



67 


A Manual of Graphology 

Vigour and originality are the predominant character¬ 
istics of this signature. Sir Robert is a great advocate 
of ambidexterity. He can write equally well with either 
hand. 

Flying flourishes. 





Before analysing any of the following handwritings, 
think of any person whose books or speeches you 
have read. What is the manner of their expression ? 
“ The style ” ? Is feeling translated into the sentences ? 
—if so, the writer is emotional. Look for this trait in the 
handwriting. Is the expression subtle and delicate ?— 
if so, a subtle and delicate mind is indicated. A clear 
style indicates a clear head ; an affected style indicates 
an affected person ; a compressed style a concise thinker ; 
a nervous style a nervous character. These characteristics 
will give you clues towards forming an accurate analysis 
of the handwriting. 

The subjects with which the writer deals are of value 
in so far as they help to throw a sidelight upon his 

68 







A Manual of Graphology 

character through his interests, occupation, profession, 
environment, etc. 

What a writer says and the way in which he says it, 
by enabling you to view the character from a definite 
standpoint, will help you to check and confirm your 
conclusions as well as to discover other qualities. The 
information obtained from the analysis, combined with 
that obtained from reading the specimen, may bring into 
relief qualities which previously were less obvious, as 
well as incongruities of any kind. 



Passion is indicated by slant; energy by movement; 
intuition and impulse by disconnections; fluency by 
connected words. 





Intellectual subtlety indicated by quith. Powei of 
expression is shown by connected initials. 




Sensitiveness is indicated by the rounded curves and 
low writing. Perception of detail by its smallness. 

69 







A Manual of Graphology 



The handwriting of a thinker. Wonderful concentra¬ 
tion and perception of detail are shown in the clearness 
and simplicity of the few strokes and punctuation. 

These firm upright strokes indicate strong, inflexible 
will and determination. Compression indicates secrecy. 
The writing being upright shows coldness and reserve. 



Egotism, selfishness, and vanity are indicated by the 
tall writing, compression, and absurd flourishes. 


Passion is indicated by slant; abruptness by finals. 

7 ° 





A Manual of Graphology 



A malignant and evil disposition is shown in the com¬ 
pressed, harsh strokes with sharp angles. 



Ambition is shown by upward slant; restraint by 
final coming over to left. 



Courage is indicated by the heavy writing and upward 
slant, with defensive flourish at end of name. Mental 
activity is shown by the smallness of the lower looped 
letters in contrast to the longer upper ones. 



Signature of Napoleon at the age of twenty-four. He 
was a captain at this time. Will power and concentration 
indicated by firm strokes and by the fact that his 

7 1 


are 








A Manual of Graphology 

hand does not leave the paper until it finishes the 
“ offensive ” sweep of the flourish, which also gets thicker 
towards the end. 



Mental culture is indicated by the simplicity of the 
strokes. By substituting straight strokes for looped 
letters a love of simplification is shown. 



A fanciful and artistic temperament is shown. The 
signature of one who lives in the imagination. 

c~ 

The capital E at Eden indicates originality and artistic 
taste. Refinement is observed in the i dot. 




Gentleness, fluency, sensitiveness, and imagination are 
shown by the fine lines, the connection of the names, 
the slanting writing, and movement. 

72 


A Manual of Graphology 



Sensitiveness indicated by slant; firmness by strong 
lines ; clear thinking by clear strokes. 



Sensuousness is indicated by the thickness of the 
strokes. Attention to detail and love of finish are shown 
by line and dots. 



Subtlety or finesse is indicated by the serpentine move¬ 
ment of the lines. Also originality and constructiveness 
by capital R and connection of the t of Robert with H. 



The creative faculty is strongly in evidence, as indicated 
by the whole style of the writing. 

73 






A Manual of Graphology 



Fluency and harmony of thought. The words and 
letters seem to run smoothly from the point of the pen. 


Agitation, affection, and gentleness are shown here 



Suavity is observable in the underhanded curves ; re¬ 
finement and love of beauty in the smooth, harmonious 
strokes. 



Sensitiveness is shown in the light pen strokes. Power 
ol expression is shown in the way in which they are 
connected. 



Clearly defined and slightly angular letters, combined 
with a simple, unpretentious style of writing, are indicative 
of a clear mind, with great powers of observation. 

74 












A Manual of Graphology 



Great sensibility, refinement, energy, and imagination. 



Great fluency, harmony, and originality are exemplified 
in these flowing, original, and harmonious pen strokes. 







Refinement, sensibility, and great clearness of thought 
are indicated by the fine, sloping style and clear letters. 


Sensibility combined with a flexible mind. Sloping 
writing with a slightly up-and-down movement in the 
lines which often accompanies rhythm. 



Great sensibility is observed here, especially in the 
stroke of the t. 


75 


CHAPTER XVI 

HANDWRITING AS AN ART 

If handwriting were considered as a black-and-white art, 
and not altogether from the utilitarian point of view, the 
mechanically accurate and commercialised form which 
exists at the piesent day would give way to one which 
would appeal to our aesthetic sense. A cultivated person 
wishing to improve his style of handwriting wants some¬ 
thing more advanced and more original and artistic than 
the “ copperplate ” style of the copybook. Some people 
we know have deliberately developed a style of their own 
which is very refreshing to look upon. They have studied 
handwriting as an art ; they have made a selection of 
ceitain forms which have taken their fancy or suited their 
style. Although handwriting is only a medium of 
expression, why should it not be made a beautiful medium 
ol expression like the human voice ? If artists with their 
feeling for line would take up handwriting, and introduce 
all kinds of variety into their own handwriting instead of 
sticking to conventional forms, they would discover the 
immense variety of shapes they could introduce into it 
without making it the least bit difficult to read. As in 
black-and-white drawing, the merest suggestion of a line 
is sometimes quite sufficient for the mind to interpret it 





A Manual of Graphology 

correctly. If at any time we wished to use handwriting 
as the medium for expressing other arts, the forms in 
handwriting, as well as having an artistic appeal in them¬ 
selves, could be made suggestive— i.e. the running purity 
and smoothness of the script forms would enhance the 
effect produced by poetry ; in this case we should har¬ 
monise the language of the eye with the language of the 
ear. Again, picturesque form could be interwoven in our 
minds with picturesque language or picturesque ideas. 
Architectural or crystalline effects in language or ideas 
could be suggested by a certain kind of printlike script, 
and fragility and delicacy by fine lines and curves. Hard¬ 
ness is always suggested by firm, angular strokes. In 
this way handwriting could be made to appeal and carry 
meaning unknown to the reader through its abstract 
forms. This would also be very appropriate in photo 
plays, where writing has to be flashed upon the screen. 
Some authors have said that their words seem cold and 
stiff when set in print ; this effect could be obviated if 
scriptlike print in its appropriate art form was introduced 
into books as the accompaniment of the art of the writer. 
To be easily read is not the only quality required of 
handwriting, although it may appear so to those whose 
sense of beauty has been dulled or to those lacking 
artistic education. The writer feels that his own hand¬ 
writing is sadly deficient, but he also feels that he cannot 
take the copybooks that exist at the present day as models 
for imitation. Why should we not have copybooks 01 
models for men and women who have advanced beyond 
the ordinary style ; or exhibitions of handwriting by artists, 
just as there are exhibitions of pictures—by cubists, 

77 


A Manual of Graphology 

impressionists, and post-impressionists in handwriting ? 
Such an exhibition would be an education in line and form 
to artists as well as to students studying art, and even 
to the ordinary man in the street. 





73 





CHAPTER XVII 
DIAGRAMS 



6 


Diagram i. —The course taken by the long muscles and tendons of 
the fingers and thumbs and the small muscles connected with 
them. 


(1) Long upper muscle starting at elbow ; four 

tendons issue from it at the wrist ; each tendon 
passes into the front of the second phalange of 
each finger. 

(2) Long muscle lying underneath the above ; four 

tendons issue from it at the wrist ; each tendon 
is inserted into the front of the third phalange 
of each finger. 

(3) Long muscle starting at the inner bend of the arm ; 

four tendons issue from it at the wrist ; these 
pass along the back of the hand, and are dis¬ 
tributed to the backs of the fingers. 

79 









A Manual of Graphology 

(4) Long muscle with tendon inserted into the back of 

nail phalange of thumb. 

(5) Long muscle with tendon inserted into front of 

nail phalange of thumb. 

All the above are large, flat, fleshy muscles. 

(6) Little muscles arising from the tendons of (2). 

(7) Little muscles attached to the sides of the meta¬ 

carpal bones of the hand, and connected with (6). 
(1), (2), and (5) can powerfully flex the fingers and 
thumb. 

(3) and (4) can powerfully extend the fingers and thumb. 
(6) and (7) perform the varied finer movements where 
quickness and delicacy are required. 

The experienced writer depends more upon the large 
muscles, since they, being more powerful, give greater 
freedom of movement and are less easily fatigued than 
the smaller hand muscles. 

Short muscles of thumb (Diagram 2) :— 

(a) Muscle which draws thumb away from fingers. 

(b) Muscle which draws thumb in front of fingers. 

(c) The short flexor muscle of thumb. 

(d y d") The transverse and oblique parts of the 
muscle which draw the thumb in towards the 
fingers. 

Short muscles of the little finger :— 

{e) Muscle which draws the little finger in towards 
the thumb. 


80 


A Manual of Graphology 

(/) The short muscle brought into play on bending 
the little finger inwards. 

(g) Muscle brought into play on drawing the little 
finger away from the other fingers. 



The Nerves traced from the Spine to the 
Fingers and Thumb of Hand 

Six nerves, one from each section of the spine, pass 
through each segment of the vertebrae of that part of the 
spinal cord at the neck ; each nerve is attached to t re 
surface of the cord by two roots, an anterior and a posterior 
On leaving the spine, little branches connect them with 
other nerves ; there are also little twigs given off here 
and there to the various muscles, and they are a so 
connected with the ganglions of the sympathetic system 
of nerves which run down alongside the spinal column. 
They divide, and unite again to form the three nerves, 

81 6 




A Manual of Graphology 

whose branches supply the muscle and skin of the arm 
and hand. 

While writing, energy is discharged from the hand 
centre in the left hemisphere of the brain, and the im¬ 
pulses pass along nerve fibres to the spinal cord, then 
from the spinal cord through the nerves to the muscles, 
etc., of the right hand. In a left-handed person the 
energy is discharged from the right hemisphere of the 
brain, and the muscles of the left hand receive the 
impulses. 


82 






CHAPTER XVIII 

WHY WE WRITE FROM LEFT TO RIGHT, 
AND THE USE OF THE RIGHT HAND 

According to the theory of evolution, man has evolved 
from an apelike ancestor ; his hands were clumsy paws 
which were used for purposes of locomotion. When he 
assumed the upright gait, right-handedness asserted 
itself. In all right-handed people the centre of speech 
is in the left hemisphere of the brain beside the hand 
centre, showing that speech was developed with the use 

of the right hand. 

The Greeks were right-handed, and at first wrote from 
right to left and left to right alternately, each letter being 
separately drawn with the stylus on wax or cut with a 
chisel on stone. This method of writing in alternate 
directions was gradually changed when the reed or quill 
came into fashion. Then the alphabetical letters were 

gradually joined together and made continuous, and this, 

along with the slope and the direction ot the thickening 
of the strokes, as seen in early specimens of Greek 
writing, suggests a right-handed execution “ Instead 
of writing from right to left and from left to rig t 
alternately, it was noticed that it was more convenient 
in this continuous writing to write from left to right, 

83 


A Manual of Graphology 

and this practice has been followed by all European 
nations.” 

The Experimental Study of Handwriting 

“It is well known that most individuals have an 
individual style which can be recognised even from a 
written address. The handwriting of others presents no 
individual characteristics, but it is possible to recognise 
in their handwriting the style of copy from which they 
were taught.” 

“ Preyer supposed that the handwriting of the child was 
artificial, and that it showed no individual character. 
This, however, is but partially true. The handwriting 
of the child depends more on the copy than does that 
of the adult ; but teachers, especially of the highest 
classes, can readily recognise the writing of individual 
pupils.” 

“It is a special characteristic of the masculine type 
[of handwriting] that the pressure increases with the 
speed.” 

“ Experiments with unconscious imitation in hand¬ 
writing demonstrate a greater imitative tendency among 
women than men.” 

“ The feminine type, to which, however, the writing 
of some men conforms, writes more quickly than the 
masculine, but with less pressure, and not in such uniform 
total impulses. The pressure curve has in most cases 
several maximums, and it is characteristic of this type 
that, with increased speed, pressure decreases.” 

“ With children of six and seven years a pressure 
maximum is never found in the word ; but each single 


A Manual of Graphology 

letter, and at the outset each single stroke, is written with 
equal pressure.” 1 

Diagnosis by Handwriting 

Dr Lemanski in a very interesting article in the Pans 
Medical (9th of April 1921) on “ Disorders of Hand¬ 
writing,” illustrated with numerous specimens of hand¬ 
writing showing different diseases, such as hysteria, 
diseases of the liver, stomach, rheumatoid arthritis, etc., 
mentions a test to be applied to a patient. He says : 

“ The handwriting may be the object of very minute 
study. The best way is to give a theme—for example, 
the river, the forest, springtime, summer, etc., asking 
the patient to put down on paper all that enters his head 
during a quarter of an hour. The test permits one to 
judge, besides the wealth of associations, the peculiarities 
of graphic expression, the errors, omissions, and even the 
forms of the writing. 

This test could be applied to normal individuals with 
very good results. 

1 Introduction to Experimental Education , by Robert R. Rusk 
(Longmans, Green & Co.). 


85 


CHAPTER XIX 


SCHEME FOR THE SYSTEMATIC OBSERVATION 
OF TRAITS IN HANDWRITING 

The following scheme may advantageously be employed 
in the systematic observation of handwriting for the 
purpose of discerning traits of character. 

I he scheme enables us to pass automatically from 
first vague impressions to clearer and more definite 
ideas regarding the character. The traits must then be 
related to the general character, as each trait is not 
isolated but must be judged in conjunction with all 
the others. 

Index to Scheme 

a . Section 

Appearance or physiognomy of the ha 

writing. 

Organic quality of the individual 
Temperaments .... 

Health ..... 

Tendencies .... 

Movement . . 

Superiority of character . 

Style ...... 

Methods of writing 
Words . 


md- 


2 

3 

4 

5 

6 

7 

8 

9 

io 


86 







A Manual of Graphology 


Letters ...... 

Section 

II 

Capitals ..... 

. 12 

Commencements of words or letters. 

• 13 

Final strokes to words or letters 

• • H 

Bar of t 

• is 

Signature . 

. 16 

Strokes . 

• 17 

Punctuation . 

. 18 

Dot of f, and dots anywhere 

. 19 

Misuse of notes of exclamation, etc. 

. 20 

Figures . 

. 21 

Brackets . 

. 22 

Bars ..•••• 

• 23 

Stamping and addressing envelope . 

. 24 

Psychological qualities 

• 25 

Age, etc. . 

. 26 


Observe 

(a) Style of pen :— 

Fine-pointed Steel Pen : Activity, sharpness, 
vivacity, quick temper, sensitiveness, affection, 

kindness. 

Broad-pointed “ J ” or Quill Pen : Steadiness, 
self-will, love of pleasure and ease. 

(b) Kind of ink :— 

Preference for Blue Ink : Vital temperament. 
Preference for Red Ink : Choleric temperament. 
Preference for Mixed Colours : Nervous tempera¬ 
ment. 


87 



A Manual of Graphology 

( c ) Notepaper :— 

Poor Paper : Poverty or economy. 

Good Paper : Wealth or luxuriousness. 

Tinted, Scented, Rough, or Fancy Paper : Caprice, 

affection, love of luxury, fashion, or some passing 
whim. 

SCHEME FOR THE DELINEATION 
OF CHARACTER 

The following salient characteristics should be specially 

noted in forming a judgment of character from hand- 
writing :— 

(1) Appearance or Physiognomy of the Hand¬ 

writing :— 

How does its general appearance strike you ? Have 
you any intuitive feelings about it ? See how 
the interpretation of the signs confirms or dis- 
poses of this first impression. 

(2) Organic Quality of the Individual :_ 

The finer the organic quality of the physical con¬ 
stitution, the more refined and intellectual the 
character, and vice versa. High quality is 

shown by fine, slender lines, graceful, delicate, 
soft, vivacious style. 

(3) Temperaments :— 

Every individual is made up of a certain combina¬ 
tion of temperaments. The indications which 
show the predominating ones are as follows •— 

88 


A Manual of Graphology 

Temperaments :— 

(a) Nervous : Head large, eyes bright, features 

sharp, skin soft, hair fine. Writing 
sharply defined, usually small, animated, 
legible. 

( b) Motor : The different forms of this are 

melancholic or bilious, and choleric. 
Characteristics : conspicuous features, 
hard muscles, prominent bones. Writ¬ 
ing bold in style and somewhat heavy. 
The predominance of muscle is in¬ 
dicated by curved writing, and of bone 
by angular writing. 

The melancholic or bilious form 
is recognised by dark hair, dark or 
yellowish skin, sunken eyes, lank and 
spare frame. Writing angular, con¬ 
tracted, sometimes abbreviated. 

The choleric form is recognised 
by ruddy skin, bold glancing eyes. 
Writing ascending, vigorous, heavy, 
angular. 

(c) Vital or assimilative : The different forms 

of this are lymphatic and sanguine. 
Characteristics :' round face, plump 
figure, pleasant disposition. Writing 
circular, sloping, expansive. 

The lymphatic form is recognised 
by flabby, soft white or yellow skin, 
slow-moving eyes, listlessness. Writing 
inert-looking, calm, slow, open. 

89 


A Manual of Graphology 

Temperaments :— 

The sanguine form is recognised 
by coloured skin, animated, good- 
humoured, vivacious countenance. 
Writing rapid, ascending, open. 


(4) Health :— 

Health good: Writing energetic, vigorous, steady, 
either level or slanting upward. 

Health bad: Writing lacking in force, unsteady, 
lines slanting down, descending final strokes, 
laboured-looking. 

(5) Tendencies :— 

Tendencies of the mind, or indications of the business 
or profession. (Note the interpolation of cer¬ 
tain signs, which may be those used in short¬ 
hand, in musical composition, in mathematics, 
in foreign languages (i.e. Greek), in physicians’ 
prescriptions, poetry, or science of any kind.) 

(6) Movement :— 

Speed rapid: Ardour, activity, ready wit, anima¬ 
tion, mental activity, rapid thoughts, ease in 
mental processes. 

Speed medium : Moderation, discretion, reserve, 
prudence, non-excitability, cautiousness, dignity, 
calmness, modesty, want of confidence, timidity, 
mistrust, dissimulation. 

Speed slow: Calmness, slow intelligence, want 

90 


A Manual of Graphology 

Movement : — 

of activity, ill-health, timidity, embarrass¬ 
ment. 

Harmonious : Artistic feeling, sense of har¬ 
mony, cultivation, good taste, well-regulated 
imagination, good health. 

Inharmonious : Absence of artistic feeling, ill- 
regulated imagination, eccentricity, nervous 
susceptibility, originality, egotism, strong 
personality, self-assertion. 

Pronounced {i.e. large sweeps of the pen) : 
Imagination, gaiety, gracefulness, anima¬ 
tion, pride, communicative nature, excit¬ 
ability, mental agitation, want of judgment, 
heedlessness, madness (in excess). 

Temperate {i.e. absence of extra sweeps of 
the pen): Prudence, non-excitability, 
reflection, precision, cautiousness, dignity, 
self-government, judicious reserve, sharp¬ 
sightedness, want of confidence, mistrust, 
timidity, dissimulation. 

Calm : Inertia, indolence, placidity. 

Nature agitated {i.e. lacking in calmness) : 
Nervousness, fatigue, fear, nervous tempera¬ 
ment, alcoholic excitement. 

Trembling: Agitation, cold, fatigue, appre¬ 
hension, fright, indignation, anger, alcohol¬ 
ism, personal excesses, old age, paralytic 
tendencies, paralysis agitans. 

Hesitating : Fear, indecision, solicitude, timid¬ 
ity, embarrassment, cautiousness. 

9 1 


A Manual of Graphology 

( 7 ) Superiority :— 

Superiority of character : Writing simple in style ; 
controlled movement, although rapid ; distinc¬ 
tive appearance. 

Superiority of intellect: Letters clearly formed ; 
attention to punctuation ; absence of rigidity, 
flourishes, or exaggerated movement. 

Superiority of morals : Lines of writing, words, and 
letters evenly placed, and equal in height ; 
open appearance of the writing, extended ter¬ 
minals, good spacing, fairly large capitals, 
flexible sloping style. 

Superiority of will: Writing fairly heavy, unvariable 
method of forming letters, vigorous movement, 
sharply defined terminals, a certain amount of 
angularity, strong t bars, up-slanting lines, even 
thickness. 

( 8 ) Style :— 1 

Very often the words used in describing the 
style of a handwriting will describe the corre¬ 
sponding outstanding traits in the character, or 
a close analogy, viz. : methodical, artistic, 
slovenly, simple, plain, elegant, intense, har¬ 
monious, etc. 1 he style when recognised is 
a most important clue to the character. 

Variety of style ( i.e . capital letters different shapes ; 
making looped letters at one time, and at 
another substituting straight lines for them ; 
as well as numerous other indications): In¬ 
decision, versatility. 



A. Manual of Graphology 

(9) Methods of Writing :— 

(a) Position of margins : Observe (1) top, 

(2) regularity, (3) left, (4) right, (5) 
placing :— 

(1) Close to top of paper, or absence of a 

margin there: Economy, vulgarity. 
Low down: Extravagance. 

(2) Regular : Taste. Irregular : Want of 

taste, untidy habits. 

(3) No margin on left : Practical, 

economy, want of taste, vulgarity, 
avarice. 

Even margin on left : /Esthetic taste, 
orderliness, love of harmony and 
proportion, conscientiousness. 

(4) Even margin on right : Artistic feeling, 

patience, delicate taste. 

(5) Writing placed so that the margins are 

balanced : Prescience, judgment. 

(b) Position of lines : Observe (i) regularity, 

(2) inclination. 

(1) Serpentine : Mental flexibility, incon¬ 

sistency, finesse, untruth, agitation, 
impressionability, hesitation, diplo¬ 
macy, mental effort, tact, diseases of 
the eye. 

(2) Ascending : Ardour, ambition, hope, 

good-humour, mirth-loving, courage, 
energy, prosperity, cheerfulness. 
Descending : Sadness, want of ardour, 
discontent, despondency, unhappi- 

93 




A Manual of Graphology 

Methods of Writing :— 

ness, melancholia, want of enthusiasm, 
ill-health, fatigue, debility, timidity, 
want of self-confidence, uneasiness, 
discouragement, indolence, weakness, 
depression of spirits. 

Ascending, then descending : Em¬ 
barrassment. 

Horizontal : Moderation, medium en¬ 
thusiasm, calmness, normal condition 
of mind and body, health, determina¬ 
tion, straightforwardness. 

N.B .—If the letters of the words are all standing 
on different levels : Gift for dramatic 
art. 

( c ) Size of writing :—Large writing: High aspir¬ 
ations, much pride, generosity, greatness 
of soul, magnanimity, aristocratic pride, 
presbyopia, imagination, slow intelli¬ 
gence, simplicity of nature, frankness, 
large-heartedness, boldness, self-asser¬ 
tion, self-esteem, love of generalisation. 

Small writing : Love of detail, reserve, 
pettiness, acuteness, minutiose faculty, 
cheerfulness, spirituality, economy, 
short - sightedness, opinionativeness, 
mental subtlety, power of assimilating 
knowledge, bigotry. 

Medium writing: Balance between the 
characteristics of both large and small. 
94 


A Manual of Graphology 

Methods of Writing : — 

Ability to do the work characteristic of 
either, yet not excelling in either ; pre¬ 
ference for a middle course. 

Varying at different times, and also 
dependent upon the size of paper : 
Adaptability, mental flexibility, imitative 
faculty. 

(d ) Shape of writing : —Examine the tops and 

bottoms of the letters. A mixture 
of the following shapes would indicate 
a corresponding variety of traits: (i) 
angular, (2) round, (3) square, (4) 
linear. 

(1) Angular: Obstinacy,firmness,hardness, 

selfishness, positiveness, precision, 
perseverance, activity, penetration, 
acuteness, restlessness, irritability, 
wickedness. 

(2) Rounded : Gentleness, gracefulness, 

weakness of will, imagination, 
aesthetic sense, complacence, calm¬ 
ness, eccentricity. 

(3) Square : Truthfulness, talent, eccen¬ 

tricity. 

(4) Linear (i.e. straight, rigid lines): Firm¬ 

ness, inflexibility, severity, steadfast¬ 
ness, regularity, power of application, 
love of method. 

(e) Orderliness : —Orderly : Order in ideas, 

material order, classification, detail. 

95 


A Manual of Graphology 

Methods of Writing :— 

Disorderly : Want of order, want of 
precision, want of care, thoughtless¬ 
ness. 

(/) Slant of writing : —Forward : Passion, im¬ 
pressionability, irritability, morbidness, 
desire of approval, affection, sensi¬ 
bility, hyper-sensitiveness, tenderness, 
interestedness, devotion, emotion. 

Backward : Distrust, exaltation, restrained, 
sensibility, dissimulation, reserve, gauch- 
erie, diffidence, suspicion, affectation, 
originality, brusqueness, apathy. 

Every way : Impressionability, agitation, 
variability of mood, caprice, mobility of 
feeling, indecision, instability, nervous 
exhaustion, fear, alcoholic excitement. 

Vertical : Reason, energy, coldness, selfish¬ 
ness, self-satisfaction, sarcasm, deter¬ 
mination, obstinacy, absence of* quick 
spontaneous sympathy. 

(g) Spacing of writing : —Lines spaced out: 
Prodigality, love of being comfortable, 
extravagance, generosity, love of dis¬ 
play, lucidity of thought, friendliness, 
improvidence. 

Lines evenly spaced : Clearness of ideas, 
harmony, love of order, neatness. 

Lines close together : Economy, reserve, 
selfishness, reticence, parsimony, caution, 
avarice, lack of distinction. 

96 


A Manual of Graphology 

Methods of Writing :— 

(/?) Thickness of the lines of writing :— 

Fine : Delicacy of mind, aesthetic tastes, 
refinement, weakness, sensibility. Such 
writing indicates highly organised, 
elevated thoughts, pure feelings, or 
when the other indications concur, 
feebleness, unhealthy nature, morbid¬ 
ness, spiritual tendencies. 

Thick : Sensuousness, sensuality (if ex¬ 
cessively thick), strength of will, cour¬ 
age, materialistic nature, passion or 
brutalitv, a common mind, love of 
life and outdoor pursuits, coarseness, 
gluttony (when strokes are thick and 
swollen - looking), boldness, physical 
strength, amativeness; low mental de¬ 
velopment, and a choleric temperament 
are also indicated. 

Medium : Healthy balance between both 
of the characteristics belonging to fine 
and thick writing. 

Not uniform, but distributed here and 
there : Colour sense. 

On horizontal strokes : Liveliness. 

On vertical strokes : Slowness. 

o) Words :— 

(a) Height equal : Justice, calm judgment, 
decorum, rectitude, honour, frankness, 
candour, conscientiousness. 

97 


7 



A Manual of Graphology 

Words :— 

Height unequal : Mental pliability, sensi¬ 
bility, indecision, hesitation, weakness, 
untruthfulness, versatility. 

(b) Finish {i.e. termination of words) : In 

a point—Finesse, mental acuteness, 
ability, subterfuge. Large {i.e. in¬ 
crease in size of letters towards the 
end of words) — Naivetd, candour, 
credulity, integrity, clearness, sense of 
justice, enthusiasm. Illegible final 
letters — Impenetrability, subtleness, 
dissimulation, precipitation, distrust, 
hypocrisy, agitation, secretiveness, 
finesse, tact. 

(c) Omitted words: Heedlessness, absent- 

mindedness, thoughtlessness, inatten¬ 
tion. 

{d) Emphasised words: By increase in size 
—Exaltation. By underlining—Self¬ 
esteem, enthusiasm, exaggeration, and 
sometimes prudence. 

(i e ) Separation of words : Far apart—Lavish¬ 
ness, generosity, lucidity, love of 
comfort, disorderliness, love of ease, 
fondness for display, especially if the 
lines are far apart as well. Crowded 
together—Economy, reserve, parsimony, 
stinginess, niggardliness. 

(/) Connection {i.e. a habit of joining words 
together): Quick intelligence, activity of 
98 


A Manual of Graphology 

Words :— 

brain, ingenuity, a practical reasoning 

mind, conversational gifts. 

(i i) Letters :— 

(a) Spacing, or distance of letters from each 

other : 

Equidistant : Judgment, neatness. 

Not equidistant : Lack of neatness. 

Contracted : Economy, reserve, argu¬ 
mentative, matter-of-fact. 

Close together, words not close : Un¬ 
graciousness, unsociability, reticence, 
reserve, hardheartedness. 

Wide : Accessibility, kindliness, gener¬ 
osity, love of being comfortable. 

(b ) Connection of small letters : 

Connected together : Practical reason¬ 
ing mind, logic, order in ideas, power 
of deduction. 

Connected in groups of three or four, 
then disconnected : Powers of 
assimilation and comparison, eclecti¬ 
cism, an encyclopaedic mind. 

Disconnected and placed side by side : 
Intellectual sense, creative faculty, 
.comparison, intuition, capacity for 
system, paradoxicalness. 

Connection of capitals : 

Joined to small letters : Altruism, 

99 


A Manual of Graphology 

Letters:— 

benevolence, kindness; indicates a 
person easily approached. 

Joined to small letters after making a 
loop : Altruism, restricted to family 
or to coterie, clannishness, party 
spirit. 

Not joined to small letters : Intellectual 
capacity, intuition, candour. 

(r) Omission of letters or parts of letters : 

Want of method, absence of caution, 

thoughtlessness, absent - mindedness, 

acuteness, impatience. 

(d) Openings ( i.e ., o, a, etc., whether open 

top or bottom) : 

At top : Open-heartedness, frankness, 
candour. 

At bottom : Dissimulation, hypocrisy, 
tying. 

Usually closed : Accuracy, discretion, 
reserve, secretiveness. 

(e) Shapes of the letters : 

All modifications or abbreviations of 
the normal shapes of letters or 
words which indicate some special 
knowledge : Mental cultivation. 
Like type: Taste, art, mental 
culture, grace, distinction (as 
opposed to insignificance). If 
type-like shapes are used de¬ 
cisively, they will then indicate 
ioo 



A Manual of Graphology 

Letters:— 

a consequential, egotistical char¬ 
acter. 

Vulgar: Want of taste, a common¬ 
place mind, coarseness. 

, Copperplate : Insignificance, want of 

originality, a passive mind, love of 
official matters. 

(/) Looped and long letters : 

Loops excessively long : Exaggeration. 

Loops disproportionately full and wide : 
Imagination, exaltation. 

Loops of the upper looped letters long 
and flowing, and attaching them to 
the following letters : Sensibility, 
loquacity. 

Loops used instead of single down- 
strokes : Love of home. 

Loops used instead of single upstrokes : 
Affectionate disposition. 

Loops replaced by straight strokes : 
Mental culture, simplification, 
purity. 

Loops on the o parts of letters like g 
and q : Mental cultivation. 

Upstrokes longer than downstrokes : 
Mental activity proportionately 
greater than physical. 

The converse denotes the reverse. 

Upstroke of the t long : Independ¬ 
ence. 

IOI 


A Manual of Graphology 

Letters :— 

(£) Unvaried in shape : stability, constancy, 
decision. 

Varied in shape : Indecision, instability, 
plasticity, inconstancy, versatility. 

(12) Capitals :— 

(a) Height : 

Tall : Lively imagination, exaggeration, 
pride, openness, self-esteem, inde¬ 
pendence. 

Medium : Restrained imagination, 
moderation, modesty. 

Low : Dissimulation, humility, hypoc¬ 
risy, weak imagination, cringing, 
fawning disposition. 
Disproportionate : Boastfulness, affec¬ 
tation, conceit. 

(b) Correct use : Order, moderation, judg¬ 

ment, reason. 

Used instead of small letters : Negli¬ 
gence, enthusiasm, exaggeration, 
want of judgment, madness. 
Replaced by small letters : Negligence, 
simplicity, disorder. 

(c) Shapes : Apply the following signs and 

interpretations to any small letters 
which are similar in form. See 

(n)t (*)• 

Round : Kind-hearted, good-tempered. 
Angular : Penetration, tenacity of 
102 


A Manual of Graphology 

Capitals :— 

purpose, quick temper, good 
judgment. 

Unnecessary flourishes and curves : 
Pretension, conceit, vanity, con¬ 
sequential. 

Inelegant or unsymmetrical : Absence 
of artistic taste, ill-regulated im¬ 
agination, nervous susceptibility, 
originality, vulgarity. 

Gladiolated : Finesse, sensitiveness, 
self-consciousness. 

Full-bodied : Self-esteem, imagination. 

Simple : Lucidity, sense of form. 

Partly formed by an ingenious curved 
stroke from preceding letter: Sense 
of humour. 

Of curved letters contracted at the top 
so that the rounded portion is not 
filled out : Suspicion, distrust. 

Contracted and angular : Wicked¬ 
ness. 

With sharply pointed angles : Quarrel¬ 
some disposition, easily vexed and 
irritated. 

Open and large, with high ending 
strokes : Cheerfulness. 

Curled and twisted : Vanity. 

With twice- or thrice-bent curves : 
Taste for music, art, or poetry. 

Cramped or hurried over, or parts 
103 



A Manual of Graphology 

Capitals :— 

omitted altogether : Want of 

method, absence of caution, 
thoughtlessness, absent-minded¬ 
ness, impatience. 

Fractured : Absent - mindedness, 

anxiety. 

Oval : Artistic perception, gentleness, 
imagination, complacency. 

Touched up or made more perfect : 
Desire for improvement, habit of 
reverting to first idea. 

With underhand curves : Suavity, 
kindliness, gentleness. 

With overhanded curves : Outspoken¬ 
ness, honesty, candour. 

Elegant or symmetrical : Artistic taste, 
love of art, sense of beauty, per¬ 
ception of form, regulated imagina¬ 
tion, refinement. 

Flourished : Imagination, self-import¬ 
ance. 

Typographic : Sense of form, observa¬ 
tion. 

Longandsloping: Sensitiveness,fluency. 

Abrupt : Impulsive. If thick as 
well : Self-assertion, brusquerie. 

Gracefully disproportionate : Imagina¬ 
tion. 

Print-like used decisively : Egotism, 
consequential self-assertion. 

104 


A Manual of Graphology 

Capitals :— 

Varied in style : Instability of taste, 
caprice. 

Flourished at base : Self-assertion. 
Inturned commencements in combina- 
tion with an upright style: 

Egotism. 

Looped prior to connection with the 
following letter : Clannishness. 
Raised up from base (i.e. L) : Pride of 
comparison. 

Of letter M : 

Disproportionate height of 
shoulders : Unsatisfied am¬ 

bition. 

First stroke higher than second . 
Pride of comparison, aristo¬ 
cratic pride, dignity, distinc¬ 
tion. 

First stroke lower than second : 

Envious pride, humility. 
Considerable disappearance of third 
shoulder : Finesse. 

Strokes equal in height : Calm 
mind, order, reason, self-satis¬ 
faction. 

Curious : Originality. 

Graceful : Imagination. 

Formed all in one piece : Directness of 
insight, naturalness of disposition, 
simplicity. 

105 


A Manual of Graphology 

Capitals :— 

id) Width: 

Narrow : Restraint, weakness, inerti- 
tude, disappointment, timidity, 
uneasiness, disquietude, feebleness 
of character. 

Wide : Boldness, force of character, 
self-dependence. Observe H, M, 
N:—If the strokes of the M are 
very wide apart — Presumption, 
self - complacence, vanity, pride. 
The same rule applies to the other 
letters. 

(e) Base: 

Wide: Self-satisfaction, boastfulness 
(observe L). If very wide and 
strokes far apart (observe N) : 
\ igour, independence, self-asser¬ 
tion, arrogance, self-esteem. 

Narrow : Timidity, constraint, dis¬ 
quietude, feebleness of character. 

Glides under word (observe C) : Self- 

complacence, vanity, pretension. 

(/) Variation : 

See (11), (^). Variation of shapes would 
be more noticeable in the capitals. 

hs) Commencements of W ords or Letters *_ 

Short abrupt strokes or tick : Quickness of 

temper. 

Curl or twist: Self-love. 

106 


A Manual of Graphology 

Commencements of Words or Letters :— 

Inward curved line or hook: Desire of 
acquisition, egotism, love of possession. 
Rapid curvilinear line : Gaiety, good-humour, 
high spirits, sense of humour, buoyancy, 
mirthful spirits, love of the ludicrous. 
Straight strokes : Spirit of contradiction, 
cavilling, love of contest, quarrelsome¬ 
ness, contentiousness. 

Final Strokes to Words or Letters : 

Upturned : Cheerful disposition. 

Downturned : Unhopeful disposition. 
Curtailed : Prudence, carefulness, reticence, 
calculation, solicitude, forethought. 

Long : Liberality, generosity, vivid powers 
of fancy, extravagance. 

Rounded and raised : Benevolence, gracious¬ 
ness of manner, courteousness. 

Thrown back to left over the rest of the 
letters of the words : Ardour, im¬ 
pulsiveness, rapidity of thought and 

action. 

Curved backward so as to surround or cover 
word : Protective spirit, loyal disposi- 
tion, self - complacence, pretension, 

vanity. 

Inturned : Selfishness, egotism, insignificance. 
Curled in a spiral: Conceit, presumption, 
pretension, vanity. 

107 


A Manual of Graphology 

Final Strokes to Words or Letters :— 

Undulating to the right, with a return stroke : 
Coquetry, love of admiration, desire of 
approval, constraint. 

Angular and ascending : Impatience. 

Produced by dwindling or gladiolation of 
final letters : Finesse, impenetrability, 
subtlety, hypocrisy, dissimulation, mis¬ 
trust, vivacity, hurry, worry. 

Rounded ascending finals : Gentleness, 
calmness, contemplation, elegance of 
taste, perception of form. 

Very round and lifeless : Lethargy, indolence, 
laziness. 

Bioken and curved (i.e. formed of successive 
angles) : Want of artistic taste, harsh¬ 
ness, severity, want of culture and tact. 

Perpendicular and ascending: Mystical 
nature, love of marvellous. 

High and angular : Satire, caustic wit, ardent, 
enthusiastic. 

High and curved : Humour, sense of the 
ridiculous. 

Hooked : Tenacity. 

Blunt: Resolution, brutality, violence, strong 
will, force of character, extreme de- 
termination, quarrelsomeness, conten¬ 
tiousness. 

Fining away : Irresolution, 

Suddenly finished, but without a club form : 
Restraint. 

108 


A Manual of Graphology 

Final Strokes to Words or Letters :— 

Not cleanly finished off : Irresolution. 
Formed by a rapid curl from left to 
right, and then in the reverse direction: 
Self-defence, resistance, independence, 
brusqueness, defiance. 


(15) Bar of t :— 

(a) Regularity of form and 
size of t bar : 

Regular in form and 
size : 

Equable will. 

Calmness. 

Moderation. 

Irregular inform and 
size : 

Non-equable will. 

Versatility. 

Fickleness. 

(b) Absent (especially when 
without a loop 
as well, and 
rounded): 

Acquiescence. 

Distaste for strug- 

gle- 

Desire for sup- 
port. 

Force of character 
lacking. 


Want of energy. 

Lack of will 
power. 

Careless indiffer¬ 
ence. 

Absent , and final 
stroke angular : 

Lack of initiatory 
power. 

Obstinacy. 

Sometimes barred , 
sometimes un¬ 
barred : 

Irresolution. 

(c) Length of t bar : 

Long : 

Animation. 

Short : 

Energy. 

% Slender : 

Want of vigour. 

Strong : 

Vigour. 


109 






A Manual of Graphology 


Bar of t :— 

Long and slender : 

Small will-power. 

Long and strong : 

Ill-considered 

effort. 

Inability. 

Short and straight : 

Simplicity. 

Short and strong : 

Great energy. 

Short and slender : 

Feebleness of will, 
indecision. 

Flying into letters of 
next word : 

Animation. 

Impulse. 

Vivacity. 

Sequence of ideas. 

Jovial nature. 

Strong , and thicker 
than down 
stroke : 

Vacillation, a ten¬ 
dency to pro¬ 
crastinate. 

Short and thick 9 and 
crushed down , as 
it were : 

Contrariness of 


thought and 
action. 

Strength of mind. 

Long , fine — equal 
thickness : 

Energy. 

Ardour. 

Ambition. 

Long , or crossing two 
or three letters : 

Impulse. 

Long , thicker at finish 
than start , and 
crushed down 
upon other small 
letters : 

Arbitrary will. 

Sometimes long and 
at other times 
short; now and 
again almost a 
mere dot : 

Imagination. 

Fantasy. 

(d) Height of t bar : 

High and tailing off : 

Vivacity. 

Quick nature. 

Lozv down : 

Slow nature. 


no 



♦ 

A Manual of Graphology 


Bar of t :— 

Obstinacy. 

Great determina¬ 
tion. 

Self-will. 

Very low down : 

Obedience. 

Humbleness. 

Humility. 

Resignation. 

Passive nature. 

High up : 

Ambition. 

High up and firm : 

Dyspepsia. 

Nearly at top of 
vertical line , but 
not flying above 
it : 

Determined des¬ 
potism of 
opinion. 

Above the upright 
stroke : 

Imperiousness. 

Arbitrariness. 

High above : 

Authoritative- 

ness. 

Over letters , and 
curved so that 


it overrides the 
letter , flying 

above it : 
Hastiness. 
Capriciousness. 
Impatience. 
Self-will. 

( e ) Position of t bar : 

On left side of up¬ 
stroke : 


Caution. 

Tardy resolution. 
Low , and crossing tops 
of other letters : 
Hasty temper. 
Strong will. 
Energy. 

Initiative faculty. 
Executive power. 
Enterprise. 
Hastiness. 

Even length on either 
side of upstroke : 
Perseverance. 

Light straight bar to 
t, longer on right 
side of letter : 
Patience. 

(/) Shape of t bar : 

Curved and placed 


hi 









A Manual of Graphology 


Bar of t :— 

over vertical 
stroke : 

Affectation. 

Partaking of the 
nature of a 
flourish : 

Imagination. 

Egotism. 

Form of lash of whip : 

Effusiveness. 

Fancy. 

Thin , bent, and ir¬ 
regular : 

Quickness of tem¬ 
per. 

Curved : 

Irresolution. 

Kindness. 

Delicacy. 

Weakness. 

Timidity. 

Hesitation. 

On right side of up¬ 
stroke : 

Optimism. 

Trending down : 

Pessimism. 

Uptending , small and 
jerky : 

Imitation. 


Mimicry. 

“ Crooked ” or ending 
in a hook-like 
finish : 

Tenacity of pur- 

• pose. 

Finishing in a rounded 
curve : 

Gentleness. 

Want of will 
power. 

Absence of per¬ 
sistence. 

Grace of mind. 

Refinement of 
nature. 

Artistic capacity. 

Ending in a point : 

Criticism. 

Malice. 

Causticity. 

Liability to go to 
extremes in feel¬ 
ing. 

Fining away at ter¬ 
minations : 

Want of persever¬ 
ance. 

Restraint over 
feelings. 


112 



A Manual ol Graphology 


Bar of t :— 
Serpentine line : 
Gaiety. 

Merriment. 

Mercy. 

Grace. 

(a) Termination of t bar : 
Trending up : 

Optimism. 

Turning up very much 
at its finish : 
Ill-will. 

Malice. 


Ending in a thick 
finish : 

Energy. 
Vivaciousness. 
Perseverance. 
Strong will. 
Obstinacy. 

Ending in a clublike 
stroke : 
Resolution. 
Brutality. 


(16) Signature:— 

Flourishes or additions absent : Want ot 
self-consciousness, dignity, simplicity, 
absence of ostentation, aristocratic or 
proper pride, insignificance. 

Flourishes or additions present : Various 
meanings according to shape, etc. :— 

Straight line underneath : Self-confidence, 
caution, pride of name, vanity, prudence, 
sense of reputation, desire for good 
opinion of others. 

Curved line underneath: Self-complacence. 

Serpentine line underneath : Verve, im¬ 
agination. 

Curved line commencing and terminating 
in a looped hook : Love of admiration, 
113 8 






A Manual of Graphology 

Signature :— 

coquetry, love of flirtation, self-com¬ 
placence. 

Two horizontal lines between which are 
two little marks : Love of detail, careful 
regard for detail. 

Followed by a dot : Prudence, distrust. 

Followed by a line accompanied with dots : 
Distrust. 

Flourish : 

Outlandish : Marked individualitv. 

j 

Of final latter from right to left: Defensive¬ 
ness. If there is also a return stroke from 
left to right : Aggression, defiance. 

Lasso-like : Defensiveness becoming aggres¬ 
sive, self-assertion. 

Like forked lightning : Great activity. 

Cobwebbed : Skill in affairs, distrust. 

Like shell of snail, and enclosing signature : 
Personal instincts. 

Lines which fence in signature : A reasoning 
selfishness, dissimulation, penuriousness, 
self-interestedness, excessive secretive¬ 
ness, impenetrability. 

Of final letter like a corkscrew, or corkscrew¬ 
like flourish underneath name : Finesse, 
skill in affairs. 

Wavy curve underneath : Gaiety, mirthful¬ 
ness, high spirits, good-humour. 

Intertwined lines : Intrigue. 

Complicated : Distrust, subtlety. 

IJ 4 


A Manual of Graphology 

Signature :— 

Stroke at end of name, and running down : 
Egoism. 

Elaborate : Love of display, ostentation, 
affectation, boastfulness. 

(17) Strokes :— 

(a) Position : 

Between two sentences : Order in 
ideas, clearness, prudence. 

At end of writing to fill up space : Dis¬ 
trust. 

( b ) Shape : 

Straight horizontal : Reason, firmness, 
justice, fairness, positiveness. 

Wavy : Grace, gaiety, tact. 

(18) Punctuation :— 

(a) Wanting : Negligence, forgetfulness, ab¬ 
sence of mind, thoughtlessness. 

(/;) Irregular : Heedlessness, lack of detail, 
as well as characteristics similar to 
those above (a). 

(c) Careful: Order, precision, minute atten¬ 

tion to detail. 

(19) Dot of i, and Dots anywhere :— 

Present, carefully attended to : Careful¬ 
ness, order, prudence, attention to detail; 
indication of a good memory. 

Varying or absent altogether: Untidiness, 

115 


A Manual of Graphology 

Dot of ?, and Dots anywhere :— 

acuteness, heedlessness, slovenliness, eco- 
nomy, absent-mindedness, excitability, 
animation. 

Position:—Directly above first stroke of which 
the letter is composed : Attention to 
minutiae, reflection, good judgment. 

On right side of letter : Precipitation, 
presence of initiative faculty, vivacity of 
temperament, want of forethought. 

On left side of letter : Apprehension, want 
oi ardour, nervousness of disposition. 

Pligh above letter : Ambition, high aspira¬ 
tions, mysticism, imagination, religious 
spirit. 

Low down : Precision, mental concen¬ 
tration. 

Shape Angular and irregular : Irritability, 
excitability. 

Round and even : Prudence, refinement, 
calmness. 

Outlines blurred : Sensuousness, passion. 

Angular : Impatience. 

Comma-like : Sulkiness. 

Thick : Materialistic, sensual. 

Emphasis:—Heavy and large: Strong passion, 
energy, ungovernable temper, warmth of 
nature. 

Varying : Animation. 

Very slight : Delicacy, weakness, timidity. 

Placed after signature : Prudence. 

116 


A Manual of Graphology 

Dot of /, and Dots anywhere :— 

Placed frequently where not needed : Con¬ 
straint in breathing, obesity. 

Placed frequently where not needed, but slight 
and scattered : Constraint in breathing, 
shortness of breath, asthma. 

Placed at commencement of sentences : 
Hesitation, fastidious judgment in choice 
of words. 

(20) Misuse of Notes of Exclamation, etc. 

Exaggeration, enthusiasm, want of judgment, 
imagination, exaltation, tendency to magnify 
or embellish, want of balance, madness. 

Of underlining strokes, or frequent underlining : 
Self-esteem, tendency to exaggerate, enthusi¬ 
asm, want of judgment, want of deliberation. 

Notes of exclamation, interrogation, suspension, 
underlines properly used : these imply 
methodical habits, a love of order and system. 

(21) Figures :— 

Properly formed : Care, attention, prudence, 
habits of neatness. 

United : Sequence of ideas (see (10), (j)). 

Used entirely in writing date : Haste, impatience, 
love of ease, economy, fancy. 

(22) Brackets :— 

Parentheses, () ; hyphens, (-) ; stops or periods, 
(.) ; commas, (,) ; colons, (:) ; semicolons, 

(;) : see (19). 


A Manual of Graphology 


(23) Bars :— 

Substituted for stops: Prudence, guardedness. 

Placed at the end of sentences in addition to 
full stops : Distrust, watchfulness. 

(24) Stamping and Addressing Envelope :— 

In a careful manner : Order, prudence, 
carefulness. 

Carelessly : Haste, impatience, impulse, im¬ 
pressionability (see (26)). 


(25) Psychological Qualities arranged according to 
the classification in use with phrenologists : 

(a) Objective: 

Perception of shapes, Art: Symmetrical 
curved style, letters of a typo¬ 
graphic or simple character, elegant 
capitals. 

Perception of size, bulk, etc. : Capitals 
and small letters proportionate in 
size, lines of writing equidistant, 
margins even. 

Perception of weight, ability to balance 
muscular action : Even pressure, 
even slope, compact appearance. 

Perception of colour : See (9), (//). 

Perception of detail, neatness : Small 
letters, attention to punctuation, 
regularity. 

Perception of number, quickness at 
arithmetic: Clear, calm, methodi¬ 
cal, precise style. 

118 







A Manual of Graphology 

Psychological Qualities : 

Perception of sound, harmony : Twice- 
bent curves, recognised by the 
rounding in and out of the letters . 
sloping, soft-looking style. 


( b ) Retentive : 

Observation : Writing small, angular, 
decisive \ letters unconnected. 

Memory of passing events : Style clean, 
definite, regular, neat, punctuation 
attended to. 

Memory of places and desire to explore : 
Bold style, long downstrokes, 
original capitals, rapid movement, 
original flourishes. 

Memory of time : Style methodical. 


(c) Reflective: 

Comparison,criticism,clearness: Letters 

connected in groups of three or 
four, small. 

Causality, or the why and wherefore 
of things : Letters disconnected. 
Wit and humour combined: Style ani¬ 
mated, irregular, ascending wavy 
strokes. 


(d) ^Benevolence, kindness : Style curved, 
slanting to right, spaced out, ex- 
tended terminals. 

119 


A Manual of Graphology 

Psychological Qualities :— 

Amiability: Absence of angles, letters 
open and diminishing in size 
towards the endings of words, 
capitals and small letters con¬ 
nected, writing formed by under¬ 
hand curves. 

Credulity : Wide curves to the bases 
of letters, ascending finals, pro¬ 
nounced movement, letters dis¬ 
connected, style rounded and 
delicate. 

Hopefulness : Ascending writing, t bars 
and final strokes, writing spaced 
out, rapid movement. 

Veneration, reverence : Style simple, 
low capitals, letters small, writing 
ascends, high t bars, i dots, 
terminals, inverted commas. 

(e) Aspiration : 

Conscientiousness : Letters placed on 
a level, uniform in size and evenly 
spaced, straight strokes. 

Desire for the good opinion of others : 
Ascending writing, employment of 
flourishes, a habit of underlining 
words. 

Self-esteem : Tall capitals and small 
letters. See (12), (c), letter M. 

Firmness : Strong strokes, firm t bar. 

120 


A Manual of Graphology 

Psychological Qualities :— 

( f) Social: 

Amativeness : Thick writing. 

Constancy in affection : Style uniform, 
regular t bars which end in little 
hooks,letters inclined to right hand. 

Love of children : Loops always used 
in making looped letters ; style 
small, curved, sloping. 

Love of home, patriotism: Continual 
use of loops in joining letters 
together, the letters being curved 
and looped before being attached 
to the letters which follow them. 

Love of society, or capacity for mak¬ 
ing friends : Letters spaced out, 
curved, and sloping to right. 

(g) Creative : 

Ideality, imagination, originality, in¬ 
ventiveness : Style original, un¬ 
conventional, bizarre ; letters dis¬ 
connected and placed side by 
side, fantastic capitals, uncommon 
method of forming letters. 

Constructive ability: Ingenious methods 
of connecting letters or words 
together so that the liaison fulfils 
a double purpose; original shapes 
of capital and small letters. 

Mimicry, versatility of manner: Variable 
size of letters, writing adapted to 


121 


A Manual of Graphology 

Psychological Qualities :— 

size of paper, writing disconnected 
here and there, short upslanting t 
bars. See (9) (Position of lines). 

(h) Defensive: 

Cautiousness : Lack of advancing move¬ 
ment in the writing, abrupt ter¬ 
minals, words underlined, t bars 
and i dots at left side of letters, 
stops used before a sentence. 

Secretiveness : Compressed writing ; 
the letters o, a, etc., closed at top ; 
short final strokes, dwindling of 
letters towards the end of words. 

Destructiveness, desire to remove 
obstacles : Bludgeon-like strokes ; 
strong, thick t bars ; rapid move¬ 
ment. 

Courage, combativeness : Style angular, 
large, advancing, vigorous, distin¬ 
guished by pronounced movement; 
i dot in advance of letter, strong 
t bar. 

(i) Self-preservative: 

Love of life : Style bold, forcible, 
vigorous, rapid. 

Fondness for food : Thick, swollen 
strokes and stops. 

Acquisitiveness (see (9), ( a ), (/)) : 
Final turn inward. (Poor note- 
paper.) 


122 


A Manual of Graphology 

I 

Psychological Qualities :— 

(j) Concentration : Style uniform, even, 
small, unvariable ; i dot close to 
the letter and directly above it; 
writing rather angular and con¬ 
centrated-looking . 

Perception and appreciation of vast 
and large things and the disposi¬ 
tion to do things on a large scale : 
Large writing, pronounced move¬ 
ment, large loops, large tops to 
capital letters. 

Ability to express thoughts : Style 
rapid, letters and words united 

together. 

Foresight : Style angular, regular spac¬ 
ing, straight margins, compact 
appearance ; letters disconnected, 
evenly placed, and close together , 
equal distances between lines, 
words, and letters ; no words 
broken at end of line ; writing well 
balanced on paper. 

(26) Age, etc. , 

Child's handwriting : Soft-looking, circular, large, 

unformed, slow, and laboured-looking. 

Grown-up person's handwriting : Formed and 

fixed-looking, firm and free from effort. 

Sex : Unless this is evident it is best not to express 

an opinion, as there are effeminate men and 

masculine women. 

123 


A Manual of Graphology 

Age, etc. :— 

Nationality : 

Britain : Clear, practical-looking, compressed, 
conventional, curved and angular, 
k ranee : Sloping, curved, flourishing. 
Germany : Perpendicular, angular, cramped. 
Italy : Rapid, delicate, vivacious. 

America : Large, angular, tall capitals, in¬ 
clination to flourish. 

Type of hand: 

Large : Small writing. 

Small : Large writing. 

Muscular hand : Curved writing. 

Bony hand : Angular writing. 

Hard, energetic hand : Rapid, animated, 
sharply defined strokes. 

Thumb strong and large: Non-variable 
style. 

Fingers : 

Long first finger : Tall capitals, high t 
bars. 

Long second finger : see Psychological 
Qualities, (//), Cautiousness. 

Long third finger : Ascending writing. 
Long fourth finger : Style angular, equi¬ 
distant letters, one word joined to 
another. 


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